Hauntings are parasitic. They live within the silence of our perceptions and the time that follows silence. The suppressed apparitions appraise reverberations between interactions that coerce the human condition, summoning and permeating different levels of consciousness to find awareness within our defensive interactions, interrelations, and adaptations. I question how defense mechanisms, memories, and amnesia alienate our ability to be present, authentic, and harmonious. Silence is an omnipresent black hole echoing the duality of extenuations and penitence, hidden in the fortification of more resounding silence. I collect silence taken by time.

​

Ambiguity is present through the unsettledness of my subject matter and the sensorium experience between bodies and within the androgyny of my gender. This artwork addresses time and space, tangibly and lyrically, through a first-person perspective to underlyingly queers the viewer; as the viewer possesses the I, they shapeshift into a suspended identity with a pronoun-less existence. Inner, outer, and silent dialogues are selected, like a soliloquy of presence inaugurated from shadows of oppression. The becoming-event or afterwardness exists in an ambiguous place that projects emotions onto uncertainties, self-proclaimed hauntings of the future colonized by social constructs.

 

Compulsion is the epidemy of the specter that restricts self-agency. An illusionary specter orchestrates a preordained panopticon condition where only what is accepted is visible; this results in a self-panopticon, a perception of queerness. Liminality is a continuum of adaptive qualities within our identity dysphoria and the oscillation between mental happenings and defense mechanisms. The found objects act as anchors within our memories. Mnemonic objects misplace memories, creating false memories. Since memories are time machines, sensorial engagement transports us to dislocated moments that inform our dislocated bodies. I become the haunter in my art practice, deliberately disorienting my viewer through thematic, visual, and poetic compositions that highlight the competing nature of obscurity, overtness, and absurdity centralized within queer conditioning to poke at the suppressed.

 

 My process begins with the delicacy of a mechanical pen that persuades the ink that follows. The two-dimensional drawings are then translated into three-dimensional manifestations with oil-based clay and found objects. I devise idiosyncratic mold-making processes that encourage impromptu and confrontational outcomes. The material selection for casting investigates the functions, associations, and interactions between materials—essentially psychoanalyzing the medium. Following this, typically, the written composition is orchestrated. A merging of ambiguous elegy and free verse poetry is determined.