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The imperfect grid shows up in countless iterations of my work. Perhaps the most universal of all patterns, the grid hints at the idea of decoration and designation of space in its most basic essence. In the grid, as in a chess board or tile floor, there are two opposite forces existing on the same networked surface, portraying the concept of duality and reflection.

My work is based in understanding and contorting these existing structures as a way of exploring the tension which upholds and lives between polarities. By implementing color and form, I embrace what I perceive to be the resurgence of a pattern and decoration movement. The movement rejects the white-washing minimalism of gentrification aesthetics with maximalism and vibrancy; offering a reference back to folk art, craft and a history of creating beyond necessity. My work emerges in the world as a reflection on moments of attentive introspection, amid seemingly rigid binary systems. I weave patterns, which function on binary oppositions, in and out of my ceramic sculptures and paintings, repetitively, as meditation on the systems of belief we carry unconsciously. Oppression thrives on binary understanding. It is through play and curiosity that we first challenge these beliefs in aims of understanding and existing. It is one of my biggest goals as an artist to maintain the bravery that is always asking why, and forever building a closeness to my own voice and intuition. It is my greatest hope that what I produce inspires this insight in others.


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