I am a person of mixed blood; my father was a member of the Bitterroot Salish and Q’lispe tribes and my maternal grandparents were white settlers, arriving on the reservation in the early 1920s. Because of this dual heritage, my art is intercultural; its themes and processes are situated between my Indigenous and non-Indigenous heritages.​

I am especially interested in process and in materiality. When working, I range between both Indigenous and non-Indigenous processes and materials and often contemplate how those shape my work, what they mean to me, what they mean to my viewers, and what the process and materials and their history says about my work. I work with materials that are either non-Indigenous, Indigenous, or used by both cultures. These include but are not limited to paint, textiles, wood, bone, hair, resin, ink, beads, and paper. Through these materials I explore concepts and themes that are situated in the in-between places in which my cultural experiences meet; I look for commonality between to allow access in ways that make sense to both Indigenous and non-Indigenous viewers. Through my dual experiences, I learned both Indigenous and non-Indigenous ways of seeing and making, and these elements are fused together in everything I create.

Other themes in my work include visibility, recognizability, assimilationist systems, resistance, removal, community, and landscape. My aim in exploring these themes is to express what they mean to me personally and to express to my viewers what they mean in a larger, historical and current societal context. 

• Heirloom Convoy
• 2022 MFA SUMMER THESIS: Where I’m Coming From