Particularly drawn to the home and its residents, I respond to found remnants of domestic culture to subvert representations of perfection and happiness. I use obsession, personification and gothic overtones to convey the idea that looks can be deceiving, and I interpret the family, the posed portrait and the American neighborhood as stages where this unsettling dynamic plays out. Conceptual strategies such as repeating, simulating, concealing, withholding and mutating induce a sense of discomfort in the work. By employing tight boundaries, clean edges and sickly smiles, secret interiors and private spaces are protected from the outside world.

Regardless of the media, I make handmade marks including drawing, cutting and sewing that reveal flaws and display evidence of our human condition—that is, we create our own realities and we are not perfect beings. As a timeless method of fixing and mending, I use sewing and gluing as metaphors for “keeping it together.”

In a climate of foreclosed homes, abandoned and gentrified neighborhoods, broken families, polarized citizenry and forgotten dreams, my work explores the physical and psychological implications of relationships, policies and domestic artifacts on our society’s obsession with, and definition of, the American Dream.