In my practice, I create objects that expose visual and language information that appears as neutral. I am focused on making visible the structures that organize how we read, look, and orient ourselves—which acts as a metaphor for dismantling the pervasive and hegemonic hierarchical systems that surround us. I incorporate elements that reference certain areas of design, like architecture and graphic design, that are normally stripped from their construction or flattened into digestible information—crop marks of an image before they are cut off, traces of vector-based linework used in the making of symbols or fonts, or bare wood before it is painted. Alongside my reintroduction of erased information, I also obscure information through restructuring—where the paper of a book is unfolded and symbols are broken apart and rearranged. By restructuring and revealing the layers beneath clean, constructed information, its facades dissolve and the seamless convenience of industrial capitalism is interrupted—text turns back into shape, transparent surfaces become opaque, the logics of narrative are displaced.

My materials are chosen for their capacity to act as structural foundations. I both lean into the material’s imitative abilities and also allow aspects of their failure to expose innate physical properties—wood as the skeleton for architecture, or paper as the carrier of image, text, and narrative.

I am interested in the tools used in service of capitalism, like contemporary graphic design and architecture, that are used to create and maintain the illusive, prevailing success of capitalism as proof that it is the only viable system to operate within. Central to contemporary capitalism is its frictionless efficiency that acts invisible, or, neutralizes itself. In consumer culture, the end result surfaces as a singular entity and exists separately from the labour used to create it. By exposing the residues of process and this flatness of illusion, I create works with interrupted abilities to communicate so that its logics of hierarchical and chronological order become scrambled. I create a space between unknowability and immediate recognition in a consumer image that engages with non-linear, deviating ways of looking in order to disrupt the authority of a monolithic capitalism.