My thoughts linger on the conceptual connotations of matter, once transformed and interpreted as material culture. On the concerns between physical objects and the ideas associated with them.
On diverse references, how once translated and sampled through appropriation, mimicry, and abstraction, become new formations—still borrowing from the existing.
Layering sensorial cues—impressions, patterns, scents—into distillations that feel disorienting and ambiguous, I craft to allow space for the uncanny subtitles of cultural diffusion to be observed.
Sculptures and installations stand as symbolic contradictions to reveal discrepancies in recognition; how the universal and common are simultaneously the foreign and disparate, interchangeably embodied in the same object.
Where material, and the ways of moving it through process, becomes a means of reconceiving. Where presence, as an object manifesting connotative layers that transcend categorical, geographical, and ideological boundaries—stays—in place of, suggesting a body.
What sources can I remake to hold emotive substance in relaying diasporic nostalgia? To mutate and set the consumption of exotic objects (placeholders of bodies, of cultures) as bidirectional rather than exclusive, hegemonic.
What process can I attempt, to deconstruct the self, the internalized lens of racism, and make transnationalism become both subject matter and reality.
I move material in loving labor to preserve and make visible, when forms of verbal expression render inadequate, the elusive sentiments of experiencing cultural liminality—where a works completion often exists in a state of transition.