My work is my way to make sense of the human condition. It contemplates our impact on the natural world, the injustices we inflict upon ourselves, and the hardships that we face. Central to this work is articulating that change is part of nature. I fragment, erode, and create my own weather as a means of understanding and accepting impermanence. The processes by which I meticulously build, alter, destroy, recycle, and re-envision my art is part of my ritual, meditation, and spiritual practice.

My thesis project, Erosive Tension, is an art installation that explores the dissonance between how human and natural forces transform environments. Situated in an unrestored portion of a mill building dating back to Lowell’s Industrial Revolution, the work is part archeological site and part art installation. This hybrid space engulfs the viewer in a phenomenological experience where the effects of erosion, the human-lead attempts to fight back this reclamation, and my artistic interventions unmask a discord becoming increasingly common in our fragmenting and contested world.

Erosion stems from the Latin, “erodere” — to wear away and consume. While natural erosion is the process of recycling materials into endless possibilities, human erosion is the act of consuming resources to construct and preserve our edifices. Through this work I am exploring our legacy in terms of the artifacts and ruins we leave behind and challenging the untarnished ideals promoted by consumer-based culture in the hopes of giving voice to the complexities and problems we face today.

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