Memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end. – G. Marquez

My media-based work draws from the legacy of experimental and abstract filmmaking to create Super 8 and digital films within the limitation of personal narrative. Using silent film footage as a point of departure, I create an immersive environment of images, which substitute the narrative focus of a film dialogue with a more subtle exploration of place through landscape, light and gesture. Utilizing film as a tool to investigate the past, present and future through a poetic and complex interplay between images, to offer an opportunity for reflection and meditation. By capturing vignettes from mundane to beautiful and editing in a collage-like style, I explore the nature of fragmented memory, triggered by temporality and impermanence.

Through my visual work in drawing and gouache painting, I re-imagine elements of the visceral body and the human condition. Disembodied abstractions dissolve into landscapes of memories, nostalgia, truths and false truths–of body, spirit, past lives or any personal connection a viewer may bring to the work. Drawing lends itself to the spirit and imagination of my artistic endeavors, allowing for deeper investigation and a rigorous research practice. I have continued to further my collection of ephemeral works by balancing the beauty and fear of our changing landscapes, identities and cultures.

My work has always explored the themes of death, mortality and afterlife, alongside our varying spiritual belief systems that lead much of our western culture, in which I was raised, to often averse to truly addressing these topics. In my global travels I have built up a plethora of imagery that is represented throughout my visual work–dissecting the specificity of place as local and foreigner.

From my undergraduate degree to my masters, I have been studying the history of medicine specifically, medical illustration and dissection in parallel with my visual arts practice. I have researched and collected enumerable historical texts on dissection, surgical procedures and the study of the human body. The early curiosity in death and dissection came after being exposed to an autopsy report, a consequence of a personal loss in my family. By looking back through our medical history–of all the failed attempts at discovering the inner workings of our bodies and minds–I relish in the errors of the past, the old texts of misled realities and human fears as well as myths that entered into the westernized study of medicine in contrast to eastern medical and spiritual philosophies.