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You go through this whole life marching for change—trying to change things and then the aftershock slaps you in the face when you realize you’re right back where you started, or so you think. WE ARE STILL HERE. According to Carl Jung, we live in the entanglement of the past, present and future; a collective consciousness he called “a sympathy for all things.” This is why I draw with my Grandmother’s thread the continuous line of my path as I journey through a world that seems familiar but is not. Here my drawings are my way to navigate the social condition of my time in my constant endeavor to measure the standards that determine my worth through a variety of drawing processes.

 

My imagery focuses on the entanglement of body, time and movement  which carries a universal theme of quantum remembrance and the repetition of the physical world that I live in today.  Questions posed at a time of racial trauma, death, attempted coups and an insurrection, questions of gender freedom, parental rights,  and the rights of women to be able to make decisions about their own health stripped away, yet again, have me realizing, yet again, that this has all happened before. I see it as an overlap rather than a deja vu,  and that I am grounded in my past and collective experience of my ancestors stored in the thread of my DNA as I move forward through my future experiences. 

I tell the stories of my past, present and future through subconscious imagery and process-oriented techniques. Growing up in Austin, Texas at a time of civil transition, my semi-autobiographical stories examine themes of displacement and survival mechanisms. 

 

I draw. I draw visual symbols to create allegories of reality. I draw using a variety of medium that requires self-examination and connection to the medium across specific platforms. The contextual engine that drives my imagery gains its character from the medium that it propels, while line, color, contrast and form steer the direction.  By using complex process-oriented techniques the act of visually constructing my stories is just as important as the stories themselves making my work move freely between private performances and public installation.

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