Babbles, plaster, fishnet stockings, 2017
Within your work, you find various ways to represent the human body- whether it’s through the biomorphic forms present in your piece Babbles, or the traffic cone in
Kiki. Has the body, as well as gender identity and fluidity, always been integral to the work that you make?
Exploring the fluidity of my own gender identity and sexuality was when my work became exciting… and validating! Embracing queerness has allowed me to take control of a space where I feel that I can move, breathe, think, and create freely. My work is therefore an extension of myself: my own exploration, my own thinking, and my own questioning. I’m interested in representing bodies without a figure, creating genderless forms that speak to issues of desire, agency, and consent; while constantly furthering my own research and awareness. In Babbles, I began using condoms as vessels to deconstruct their traditional association with masculinity
and became obsessed with the fluidity of form and their ambiguity… moments where a reservoir tip becomes an erect nipple, and vice versa.
Who are some of your influences?
Who I’m looking at? Louise Bourgeois and Henri Matisse! I am so inspired by their ability to channel intense emotional energy into a visceral, organic, and undeniably surreal experience. Seeing “Quarantania, I” and “The Red Studio” at the MOMA was so exciting and overwhelming that I cried in front of each artwork. I felt completely encompassed by contentment. Who I’m listening to? I am almost always listening to music. I’ve really fallen in love with the K-pop artist
Taemin. His performances are carefully choreographed, effortlessly fluid, and ooze sex appeal… I wish I could mimic his every move!
Babbles (detail), plaster, fishnet stockings, 2017
Kiki, chain, leather, o-ring, traffic cone, 30" x 14" x 11", 2017
Holding Hands with Ian Peach, chain, leather, o-ring, traffic cones, 28" x 31" x 10", 2017
You recently spent the summer in Brooklyn where you worked alongside Clement Valla through the New York Arts Practicum. What was that experience like?
I feel so lucky. Working with Clement was an absolutely incredible experience. Our summer was an experimental exploration of photographic technologies, focusing primarily on a series of sculptures and cyanotypes. His work utilizes a wide range of media, from photography and software to sculpture and architecture. The cyanotype process became the multi-faceted medium that uniquely interweaved these ideas, expanding on themes developed in his previous
work. Assisting Clement in the studio and having him as a mentor was an unforgettable opportunity that continues to inform and push my own artistic practice. I am so grateful for his open generosity, kindness, and willingness to share his space, time, and insight.
Can you talk about the importance of having a multidisciplinary practice in relation to your own work?
Working three dimensionally has made me realize the impact the body has on the environment it’s surrounded in. It has always been really important for me to feel like part of my presence is in every step of the process. Lately, I have been recognizing tasks of my daily routine as an avenue for potential performance pieces. I’ve been thinking about Martha Rosler’s “Semiotics of the Kitchen” (1975), recognizing art in the mundane, through isolation and repetition. Through this way of thinking, I’m really becoming interested in the awareness and consideration of my body in space. I think it’s so important for us to be conscious of the way that we move through the world, how we take up space, realizing each movement with action and intention.