I work with various materials including raw or fired clay, natural fibers (corn, invasive grass species, and cotton.), wax, natural rubber, wire, pinto beans, corn, guajillo peppers, and others. I assemble objects whose utility is ubiquitous (things that perform one or more of the following: contain or hold, puncture or cut, shelter, adjunct, mash, shift, strain, or separate) into machines or organisms such as the stomach as a vessel that digests and is digested or the gut as a territorializing boundary and container.
My practice has shifted from centering on identity and assimilation in the United States toward making objects, installations, and performances that investigate postcolonialism by concentrating on the body and its systems, food, and relationships to the environment, genetics, and the Anthropocene.
I propose and engage with digestion and the gut as fertile grounds for postcolonial theory and practice, investigating ways in which my human body can be aided in its literal and figurative digestion of food, information, trauma, and history. The input-output system of bodily digestion is a way to speak about metabolizing information of various kinds through the body. This includes language, emotions, environmental factors, social structures, codes, social media, etc. My investigation uses objects as extensions of the body through which metabolization can happen.
Brazil’s anthropophagia movement of subversive consumption, Ursula K. Le Guin's Carrier Bag Theory, Borge’s Fictions, Anzaldua’s hybridity, Rosi Bardoti’s Post Humanism, and Deleuze and Guattari's new subjectivity and even Leonora Carrington’s surrealist short stories are some of the theories that have recently fed my thought process. They guide my attempts to create these machines/objects/organisms to help me digest the information flow of contemporary reality, whose velocity and multiplicity my human body has not caught up with.