As an artist, designer, and researcher, she is drawn to studying patterns as regulatory mechanisms and claims to order that nonetheless precipitate chaos. To what degree do patterns promise control in the face of a spirited human actor?
How, in exchange, is control relinquished to the pattern for reasons of consistency, utility, or tranquility?
These questions are addressed in a combinatory method, where disparate fields of making and knowledge are bridged with a poetic use of technology. Written language and images are used alongside weaving, sound synthesis, programming, and data analysis to produce objects that function as energetic environments and vice versa. The object-as-environment and environment-as-object approach to production allows for maker and viewer to continually reconfigure their orientations to each other, culminating in dynamic relationships that circumvent intelligibility, ossification, and stagnation. This core of ever-present destabilization is the key to effective communication, collaboration, and collectivism.
In her various guises, the artist develops a means to collaborate amongst the parts of herself, which each reflect some irreplaceable instance of self conceived in a particular time and space. Extending from within, she encounters other entities - collaborators, instigators, disruptors, partners - with whom to entangle.