More about Plaster, Identity, Object, and Archive


As a person at the intersection of many cultural and societal binaries, I am full of many multitudes that have often left me unsure of exactly who I am, where I belong, and what makes me feel seen. There is a human limbo between wanting to connect to others but needing to heal the disconnect with yourself first, and I have found some of that understanding and agency in self in working with plaster. Throughout my experience in the medium, I have fallen in love with it's ability to imitate and reference time, ephemerality, absence, and change. Each interaction with plaster is different, and through its various stages, experiences many different moments of physicality that reveal it simultaneous strengths and fragilities. It is unique in the way that it appears both dense and empty, transforms rapidly between hot and cold, and is usually understood in its static dry state- but not in it's many moments in flux. I've found catharsis in working through the material's life cycle; using it as a means to explore how my own multitudes, collection of experiences, and versions of self, make up the building blocks of my cumulative identity. 


A way for me to store, preserve, and hold onto the moments I have naturally buried over time is within the projection of these pieces of my personal history onto objects outside of myself. I believe that tangible objects have an extraordinary capacity for comfort when they are given love, meaning, and protection- and it is why I find the realm of sculpture and mold-making so cathartic. These processes for me include the cyclical ritual of archiving formative lived experiences that have been clouded by grief, time, and repression into sculptural objects. Once an object is given a story and life, it is given a space in plaster to be honored, preserved, and rediscovered beyond the limitations of memory. Through this rediscovery I can begin to reclaim, accept, and appreciate the memories they represent and the parts of myself that they encompass.


My goal as a preserver of objects, and an archiver of stories, is to locate and work through the many things I have lost, and give them the voice and physical space to be recreated and regarded as the significant moments they are. The process of creating any one of these pieces does not stop the moment the object becomes stuck in place, or when the plaster crystalizes. Recall and reflection is never resolved, and I am passionate about keeping these sculptural objects and the stories they encompass alive; continuing to explore the ways each narrative piece reveals more to me about my self and identity each time I touch it. Translated in secondary iterations of performance and video documentation, interacting with these sculptural forms grants me further opportunity to trigger the life-long ritual of remembering, uncovering, and honoring, the way fractions of my personal history have informed who I am today.