In my artwork, I redefine my identity through personal branding. By collaging and combining food packaging, historical objects/techniques, and hand-made production techniques in fiber-based works, I place myself within the world and its social hierarchies to subvert them as an unwilling partitioner.

People’s lives are mass-produced. Each person is subject to a variety of hierarchies, yet regardless of where people stand in these hierarchies, they all have the same basic goals: they eat and sleep, seek acknowledgment from others. Born from this cycle, I am fascinated by the contradictions of this repetitive, mass-produced life. I confidently insert myself in my work in order to stand against this capitalist, consumerist world, breaking through repetition and its limiting standards.

My visit to a grocery store is a visit to a fantasy world. I collect impressions and souvenirs and turn them into art. A trip to a foreign market, for example, provides a sense of that culture’s aesthetics. In my work, I recreate these moments of discovery. provide familiarity but also strangeness by adding personal details to existing food packaging, integrating historical objects and techniques.

This process acts as a bridge between myself, my exploration, and the historical objects and techniques, such as Wedgwood (Jasperware) pottery or daisy granny square (crochet techniques) and depression-era quilting, that I pair with packaging. Through contemporary food packaging contrasted with historical objects and slower, careful techniques, I am recontextualizing this capitalist-consumerist society. While today’s food packaging showcases repetition and its limiting standards, old, authentic objects and techniques represent my unknown future.

Using a variety of fiber-based materials such as PVC, denim, secondhand clothes, and vintage textiles, I communicate the close relationship humans have with social hierarchies, as well as the ability of these materials to express people’s unique identities.