I’ve built my art practice at the meeting point of art, politics, and truth. I think a great deal about the various ways art and politics intersect, overlap, inform, and challenge each other. I seek truth through art in order to understand myself in a given historical moment. I believe art can be a powerful tool to present truth as an essential form of self-awareness. 


My work is precisely made, pared-down, research-based, and organized into collections that cover a wide range of subjects, techniques, and ideas. A common thread running through my work is my use of material; I choose materials that are not passive objects but objects that actively contribute to the subject of the work. In Beyond Indifference, a collection of mixed media works, I assemble decorative and domestic objects commonly associated with the “feminine.” By incorporating materials of lived experience–cookware, appliances, and décor–the work challenges the hierarchy that values one set of materials over another based on gender bias.


Like Beyond Indifference, many of my past works investigate social issues, including gender, misogyny, rape, abortion, land rights, white privilege, and institutions of enslaved people. The content of my artwork is both personal and universal. In my series, Am I that Name? I ask questions about Queer theory using bathroom-signage-inspired figures as form and gender as subject. An unintended consequence of this series was questioning my own gender identity.


An Infrastructure of Silence was conceived after I discovered family documents connecting my white ancestry from England to the planter elite that held political power in Colonial Virginia; the work ties my cultural heritage to systemic racism in the United States while taking a direct look at people who have been rendered hopeless by design. Highlighting a violent injustice, La Sierra is an installation of video interviews of local heirs of the 1844 Sangre de Cristo Mexican Land Grant. Decedents of the land grant tell stories about their community’s historic fifty-year land rights litigation against private landowners in the Southern Colorado mountain range— where I have deep personal connections.


My current project is a traveling exhibition that invites Oklahoma-based Black, Native, and white visual artists and writers to make artwork in response to my 2018 series, An Infrastructure of Silence. The installations and artwork for the project illustrate how racism is woven into the stories of all our lives, relationships, social practices, and institutions.