A beginner’s mind is one that is passive yet active, empty yet ready, and straightforward yet open. The mind of a beginner allows for objective observation, and the embrace of wonder. Obtaining this pattern in cognition acts as an immense support for remaining present and curious, as it is a fundamental principle for meditation. Such presence welcomes moments that may be otherwise overlooked and understands their inherently fleeting nature. The careful examination of textures, impact of sounds, evocation of tastes, and focus on tangibility all aid in the ability to find a sense of novelty within the mundane.
Within my current approach, I have used drawing, printmaking, and photographic practices in a collaborative manner that centers around the notions of an impression. By utilizing ink transfers, tree rubbings, and meticulous inspection with pencil crayon, I am taking the direct impression of moments that have left some form of mark on me. The instantaneity and chance operations used to create these works are presented through intuitively acting on moments of admiration, emotional responses, serendipities, and idiosyncrasies.
By actively exercising synergistic relations with nature and circumstances that pertain to my everyday life, I have approached this work through the lens of a beginner, which has led to fostering a greater connection with my surroundings. Although I have created these works by means of personal observations encountered in my own life, I hope to have touched on collective experiences and feelings that can be shared among others as well. Through incorporating such daily practices and receptive mental shifts, I have found resonance with accepting unpredictability, surrendering control, welcoming small instances of gratitude, and taking life as it is—day by day.
- Drawn Quarters (2021) artist statement
Some of the most distinct memories from my upbringing revolve around textile patchworks, and the processes surrounding quilts and comforters. When reflecting on that time, I consider my present self’s creativity to have been heavily fostered through my exposure to these textile works - through being included in the processes from a young age, observing the collectivity of family members at work, admiring the patterns that arose, and having many such objects in my home environment. I have noticed various parallels between these processes and how I work today. These include my interest in crafting with scrap materials, patience for meticulous execution, gravitation towards domestic influences, and the comfort that accompanies these gestures.
My current print-based work focuses on process, and incorporating a sense of tactility in two-dimensional print. I am attaining this through drawing with needles and thread, and mimicking gestures to explore how the integrity of each specified textile process may remain within various printmaking techniques; as both of these art forms are inherently time-consuming, and hold a unique sense of delicacy.
Within my work, I am increasingly developing a greater personal connection with the labour involved, rather than the finalized piece. By intuitively combining materials and highlighting the parallels between print and textiles, the connections remain through channeling and revisiting, present and past, methods of production. This type of making is not only a means of self-discovery and a new approach towards creating, but also a means of preserving my childhood memories.
- Preserving Remnants and Layered Imprints (2021) artist statement
