In my work, I play with the boundaries between "craft" and "fine art" by combining the techniques I have learned in formal studio classrooms in composition, drawing, and sculpture with the methods of sewing, embroidery, and mending that have been passed to me from my mother. Because of this, my work often occupies a strange place, somewhere in between the intentions of both practices. Though it was created with techniques associated with domestic labor, it is useless in the home. Though it draws on years of developing technical skills, it is unassuming in the gallery. At its core, it contends with my own anxieties: questions about whether handicrafts have a place in the art world, and what happens when a queer artist performs what they were taught is “womens’ work.”
