Through the deconstruction of the domestic space, my work conveys the malleability of memory and in turn the ways in which we identify ourselves. I am quite interested in the notion that our memories are not constant. Instead, our recollections are subject to change based on a multitude of factors. Consequently, if our identity is based on our past, but our memories of our past are subject to change, then how do we know who we truly are? This is the question I pose with my work.

A major component of my work is the act of collecting, both in terms of reference imagery as well as physical materials. I spend a great deal of time searching for items that I feel carry a certain sense of history. While my inspiration often stems from my own past, by utilizing these domestic objects, spaces and materials, I attempt to invoke a common sense of nostalgia. Yet, by deconstructing and abstracting this familiar subject matter, my aim is to subtly challenge the viewer as a means to illustrate the inconsistencies in our memories.

There is a great deal of thought put into my collecting of reference imagery and materials. However, when it comes to creating, my process is primarily intuitive. This impromptu method of working is directly related to the driving concept behind my artwork. The reconstruction of a memory is second nature, and so too is my process. We rework our memories as a means to make sense of our past and in turn to create a narrative that conforms to our understood identities. I view my creative process as physical representation of this function.

My current show is titled “Unheimlich,” a term coined by Sigmund Freud, which can be translated as “uncanny.”