I make art because it is who I am. When it is part of your identity, it becomes your language of choice when you have no words left.

It is how you move through the world, through life, how you understand when others don’t have a clue, how you connect to something bigger than yourself.

I have strong visual responses to everything I see and go through. I cannot stop it, cannot control it, nor have I ever felt the need to. When something triggers me, it starts growing inside, flowing into my focus—dance, aerials, photography, ceramics… In clay, I find the most visceral connection — it is the dialogue between artist and material, raw, alive and immediate.

Working across ceramics, sculpture, installation, performance, and text, my practice refuses containment within any single medium.

Truth demands multiple languages.

I am interested in the political economy of the body — how power shapes gender, sexuality, and social expectation — alongside questions of belonging and survival. My work explores what it means to inhabit a body that resists—its boundaries, its freedoms, its truths. How do objects, gestures, and images hold histories of power and endurance?

Drawing on Wabi-Sabi’s embrace of imperfection and impermanence, and Frida Kahlo’s example — who refused to be anything less than herself, whose work was raw, visceral, unapologetically personal — my practice rejects polished perfection. Nothing grandeur, never perfect, never finished. — this approach mirrors both the ceramic process and the ongoing nature of transition itself.

Now, after completing my social transition and at the end of my medical transition, I am ready to transition as an artist. This practice documents that becoming — Beginning after the End — not knowing what the outcomes will be, but trusting the process. My ceramics, sculptures, and installations explore societal tensions and internal survival dialogs — visceral monologs of truth.