Artist Statement

In my studio practice, I explore identity and psychological interiority through ceramic sculpture, using scale, vignette, composition, and surface to build work that carry tension, vulnerability, and resistance. My work engages themes of mental health, sexuality, and gender, treating the figure as both a personal and cultural site, one shaped by history, expectation, and control. Drawing from Jungian psychology, I incorporate symbolic form, archetypes, fragments, and repeated motifs, that function as visual markers of the unconscious, giving structure to experiences that are often difficult to name.

My recent research moves into the intersection of psychology, witchcraft, and systems of persecution, drawing from Jungian theory, occult belief systems, and the historical violence of the witch trials. Between the 16th and 18th centuries, thousands of people, overwhelmingly individuals assigned female at birth (AFAB), were accused, surveilled, tortured, and executed. As Silvia Federici argues in Caliban and the Witch, these persecutions were not fringe eruptions of superstition, but a coordinated restructuring of power. One that disciplined bodies, controlled reproduction, and violently enforced new social and economic orders. AFAB bodies became sites of regulation, stripped of autonomy and recast as inherently suspect.

That logic has never fully disappeared.

The same logic that once marked AFAB bodies as dangerous, excessive, and in need of control continues to shape how those bodies are read today, through medical bias, cultural stereotypes, and technological systems that sort, flag, and regulate difference. My work sits squarely in that tension. It is not neutral. It refuses neutrality.

Through sculpture, I engage a process of transformation, something closer to self-alchemy, where internalized fear, repression, and inherited narratives are pulled out of the body and made physical. Figures stretch, fragment, and press against themselves or their surroundings, often interacting with symbolic objects that reference containment, transformation, and thresholds between interior and exterior states. Surfaces hold evidence of pressure, rupture, and repair. These bodies are not passive; they resist, they persist, they take up space.

Each work functions as a shifting self-portrait, mapping the unstable boundary between internal experience and external perception. Jungian symbols operate here as a visual language for the psyche, allowing personal and collective histories to surface simultaneously. By making these tensions visible, I am not simply reflecting history, I am confronting the systems that produced it and tracing their continued presence.