This painting technically began more than two years ago, during my pregnancy. Because of medical complications, I tracked nearly every aspect of my health through charts, logs, and handwritten notes. After my son was born, that documentation shifted almost entirely to him. My husband and I filled what felt like an entire book with records of his first year—sleep schedules, feedings, diapers, milestones, and countless other details intended to measure his well-being.

As I adjusted to motherhood while trying to understand where my artistic practice fit within this new identity, I began questioning the purpose of all this documentation. The information those records contain is invaluable, but it cannot account for the experience itself. The moments that ultimately shape our lives rarely fit neatly into charts and diagrams; they exist instead through memories that are fragmented, emotional, layered, and constantly shifting. Around this time, a butterfly repeatedly landed near me during moments of reflection, becoming an unexpected reminder that transformation often arrives quietly and without permission.

The work incorporates the very documents that once tracked my pregnancy and my son's first year, alongside photographs, traces of our shared experiences, his early experiments with art materials, and physical remnants of our time together. Rather than concealing these records beneath layers of paint, I leave fragments visible, allowing systems of measurement to be absorbed into the emotional landscape of memory. Inspired by the freedom and unpredictability of my son's marks, I also loosened my own process, embracing uncertainty and allowing colors to bleed together, forms to remain unresolved, and gestures to emerge intuitively.

Rather than documenting motherhood alone, the work examines how significant life experiences reshape the ways memory is created, preserved, and understood. Motherhood functions as both subject and catalyst, prompting a reconsideration of what constitutes an archive. Painting becomes an alternative form of record that values ambiguity alongside precision, lived experience alongside documentation, and preserves traces of what inevitably exceed measurement.

The painting, “She Remembers” uses an aging technique to create the effect of entrapment within the past. Our past can trigger feelings of nostalgia, a sense of identity, or it anger us by what we can’t forget. The figure in this painting represents someone caught between what they have experienced and remembered, and that which they wish to forget

Gilded Ruins and Gilded Moment (sculpture) are two pieces that operate in unison - the painting acting as a setting for the sculptural form. Together they emphasize our desire to highlight particular moments or experiences. In Gilded Ruins, the gold hides the potential signifiers of the locations present within the painting. While in Gilded Moment, the figure’s face is masked as the gold seeps out, simultaneously beginning to cover part of her body. By applying a valuable medium, the act of gilding enforces the connectivity between loss and remembrance.

Library of Memories is inspired by Jorge Luis Borges’ short story “Library of Babel.” Rather than conceiving the universe as a library of books, this painting views the library as a location housing memories, both identifiable and non. Where we enter and what we select is up to the viewer to decide

Paint is often deemed a consumable expense, meaning it is bought, used, and then replaced. Does painting over a wall or canvas really create a blank slate? These pieces ask to consider the possibility and meaning of an accumulated, unconsumable, painting.

Paint is often deemed a consumable expense, meaning it is bought, used, and then replaced. Does painting over a wall or canvas really create a blank slate? These pieces ask to consider the possibility and meaning of an accumulated, unconsumable, painting.