The abstraction, simplification, and distortion of line to create both real and imaginary spaces fuel my practice. Particularly, the landscapes that shaped my ancestors, their histories, and my own heritage influence my work.
               Documentation of personal visits to the landscapes that surrounded my ancestors affects multiple translations and reiterations of an image. My original source images are translated through several different processes such as photograph, watercolor, weaving, and sewing; sometimes more than once or twice. Through translation of these images and spaces, I utilize line—the most fundamental and essential act of mark making—to create these images repeatedly while also bringing in horizon lines to emphasize the land and its boundaries. With each translation, I lose recognizable details of the location itself and instead turn them into a new space of my own. The landscape has changed since my ancestors directly experienced it, however by visiting these aforementioned spaces and translating or manipulating them myself, it is an act of reclaiming the site as something that is connected more strongly to myself in the present, and is more of a personal reclaiming of space. This is a genuine act of building a connection between my present and my ancestor’s past without claiming that their spaces are also immediately mine.