How long does it take for a dry, unfired clay cup to dissolve when filled with water? How much water can a water balloon accommodate? How much can a sponge absorb? How small can I cut a piece of carpet before it unravels? How much weight can I pull up a hill?

I explore relationships between objects, materials, actions, and time. I chase the sensation of being immersed in an ephemeral moment. I make deliberate movements, that I might marinate in the mystery of human existence. These symbolic, emotionally-saturated actions may prove futile in their physical purposes and accomplishments. This is a paradox that energizes me, invites me to explore the nature of embodiment, and allows me to turn physical phenomena into emotional ones. I am fascinated by material limits, the boundaries of my body, and the fleeting quality of time. Most of what I make is already past once it exists. The ephemeral nature of this experience is addicting to me; in it I find space for naming truths, excavating pain, rehearsing hopes, and forming community.

My work is live, and lived, in person. I find that this breeds bold honesty in me, allowing me to confront my personal lived experience and negotiate relationships in the network of identities in which I operate as a woman, a dancer, a potter, a clergyperson, and a contemporary artist. Simultaneously, through experimental actions, I question the gender norms, cultural perceptions, and social expectations that surround each of my identities. My body becomes material through strength and endurance exercises as I explore the space I occupy and my curiosities related to how I may be perceived performing any given role. Layered images and actions become catalogs by which I investigate the roles I have played, unravel the blindly-accepted truths of my gendered socialization, and render them false. Exploring these dynamics in physical phenomena, time, and material limits invites me to recognize the specificity of every human story and the physical quality of emotion.