In my work, I use the body as a site to explore the lived experiences of racism, ancestral (human and non-human) connection, and the complicated blend of histories held within my body. My work shows reverence for real bodies while also incorporating elements that are physical manifestations of the intangible. The humans I make are often interconnected with elements of the natural world, many of whom are native to the Pacific Northwest where my family has lived for four generations. Trees, roots, animals, water, stars, and salt are common threads throughout my work. I love paying attention to and learning from our non-human relatives and incorporating their teachings. My work balances the individual and the collective. Each piece contains a unique individual but also references to a larger collective of people and/or the natural world. I want my work to encourage people to think about their relationships to each other as well as our non-human relatives that surround us. In the connections between the individual and the collective, I hope to encourage us to build community, activate webs of support for all living beings, and reflect on and act toward being the best future ancestors we can possibly be. I want my work to live in the stream of "good trouble" that is pushing our country to reckon with its past, recognize how the past is implicated in our systems now, and live up to our country’s best ideals.