We often take pleasure in doing things we know that we should not. This can be seen in many instances: as simple as a child taking pleasure in using a swear word that their parents forbid. Our child mind can initially see these things as dangerous, however; they simultaneously become alluring, mysterious, and rather inviting.

Transgression becomes more desirable when we are aware that it is taboo. This paradoxical relationship that exists between taboos and transgression perversely distorts, eroticizes, and fetishizes images. By blurring the distinction between figure and ambiguity, comfort and disturbance, humor and morbidity, pain and pleasure, vulnerability and control, fear and seduction; I intend for my work to evoke a level of desire that feels extremely conflicted. In allowing the audience to renegotiate discomfort, I aim to reshape their sensibilities with the use of contradictory materials to further enhance the abject.

By encasing soft sculptures into a rigid form, I attempt to give stability to the amorphous. This longing for stability subconsciously parallels my experience as a young woman, and also challenges the idea that sculpture is inherently static. My process is heavily multitask-oriented from combining wax formulas in crockpots to suturing nylon fabrics. These domestic, yet subconscious tendencies challenge expectations of femininity that still exist to this day. Doing so, I often convey the exaggerated female form with a sense of resentment. The hybrid physiognomy often depicted is seductive, yet simultaneously unsettling. In taking this approach to the fetishization of images and objectification women, I am able to both make fun of it and live it at the same time.