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In spending my childhood across three continents, I developed an imagination for how the corporeal experience is tied to setting and landscape, and a love for the overwhelming wealth of distinct places that can be found on this earth. These experiences instilled in me a recognition of the significance of the material settings that conflate with our reflections upon ourselves—the places we often see (as) outside of ourselves that in actuality sit right within us, carved within the vistas of our sorrows, joys and dreams. In these places, physical landscapes, materiality and bodily experiences are inseparable. My work explores my personal experiences through these themes, as a matter of bodies and spaces.
I am committed to forging a deeper, more reciprocally beneficial relationship with the lands of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), Stó:lō and səl̓ílwətaʔɬ/Selilwitulh (Tsleil-Waututh) Nations, upon which I live and work. The clay which I have used in my practice has been primarily sourced from various locations on Turtle Island (known by settlers as North America). These locations are found in Nêhiýânâhk ᓀᐦᐃᔮᓈᕁ (territories of the Plains Cree Nations), Anishinabewaki ᐊᓂᔑᓈᐯᐗᑭ (territories of the Anishinaabe Nations)— including the territories of the Gaa-gwekwekojiwang (Ebb & Flow First Nation, governed by Treaty 2), the territories of the Nekaneet First Nation (governed by Treaty 4), the territories of the Niitsítpiis-stahkoii ᖹᐟᒧᐧᐨᑯᐧ ᓴᐦᖾᐟ (Blackfoot / Niitsítapi ᖹᐟᒧᐧᒣᑯ Nations), the Očhéthi Šakówiŋ (Sioux Nations), the Nahkawininiwak (Saulteaux Nations) and the Nakota (Assiniboine Nations), and lands within the homeland of the Michif Piyii (Métis Nation). I am deeply thankful to all of these Nations for the care they have provided these lands over many millennia. I would like to recognize that my presence on these lands contributes to the continuing displacement and oppression of First Nations and Métis peoples, and as a settler I remain dedicated to reflecting on my responsibilities in being a guest on these lands and a contributor to cultural and art practices. I believe it is important to continually remain in conversation with the question: what does it mean to create art work on stolen land?
If you have any inquiries about my work, or any opportunities/commissions you would like to discuss, I'd be happy to hear from you.
Near S,KŦAK on W̱SÁNEĆ territory.