The world we are looking at is no longer just a set of “real” experiences. In a post-internet framework, perception is skewed, warped, and reconstructed. Simultaneously, the immigrant experience is one of assembly, a locating of oneself in an existing worldly fabric. In Queens– the borough of immigrants– this is felt like nowhere else. I grew up in the borough having always paid attention to its images, and asking: who constructs the world? Where do its images come from? And what myths lie amongst them?

The origin of my interdisciplinary practice is this perception of reality, time, and memory. My practice necessitates interweaving a wide set of making practices: I capture, screenprint, draw, 3D print, draft, lasercut, file, embroider, and etch. The highly specific images I collect from packaging, labels, floor tiles, dollar stores, photo albums, mall parking lots, and street signs become a visual vocabulary. I document the world I encounter, focusing primarily on intimate moments of creativity in the urban landscape, whether in printed design, ad hoc architectural manipulations, or gestures of "fixing" in frequented spaces of the borough. I will manipulate this photography digitally, reentering my archive into the world through printmaking, a medium that exists at the boundary of the mechanical and handmade. The prints are often housed in reflexive sculptural containers that allude to found architecture or iconography. My work acts as a window, a perception plane existing between the real and digital, along boundaries of private and public space. It merges the past and present, queerifying memory into the heaviness of one, handmade object. I do not make images, necessarily, to be reasoned with. More and more, I am considering my practice as simply a side effect of looking.