I use abstract sculpture to explore bias and faulty perception as byproducts of a monocultural upbringing. At its core, my practice is a dismantling of the dogma of my childhood. The daughter of a horse trainer in Texas, I was raised with little awareness of the world beyond my town and church. My exposure to different cultures and viewpoints came later while living in France and Japan.

A metaphor for my yearning to bridge cultural gaps in understanding, my work combines materials that tell my life story. Denim clothing and horse hair represent my childhood in Texas. Cotton muslin – a fashion prototyping staple – is representative of my decade living in Paris and working in couture. The use of sumi ink, washi paper and tatami grass is a nod to the three years I spent living in Japan. And finally, the feather-like protrusions and drone-like fins I affix to many of my sculptures are made of thermoplastic, a versatile and shape-shifting material that represents my current life in New York City where people are free to take many forms.

I contrast objective fact with subjective patterns of thinking by drawing on the natural sciences, figures of speech, and cognitive psychology. My series "Bird Brains" starts with bird-related idioms whose meanings point to human irrationality. From Black Swan Theory – a mistaken belief that something is impossible – to The Ugly Duckling, who was actually a swan, I tap into colloquial language to highlight the ways we misconstrue the world. Other series, such as “Drawings in Three Dimensions” and “Chromatics,” delve into various ways the human brain evolved to make sense of information voids or overloads, often resulting in cognitive bias and logical fallacy.