I am interested in exploring queer liberation through the subversion of sacred spaces. Drawing from golden third century church mosaics and intricate, infinitely repeating acanthus scrolls, early Christian, late Byzantine, and ancient Roman art, architecture, and mosaics inspire much of my work. My work reveres the Dog, often confined to violent roles in hunting, coursing, and dog racing. I place dogs in sacred and holy spaces to establish and insert a Other, Queer by definition, force. I aim to create an environment where the Dog, and therefore queer body, is equally as sacred as its surrounding, equally worthy of reverence. By subverting this divine narrative and reimagining these animals, I create an active site of resistance and liberation through celebrating the Dog, the Other, and, therefore, Queerness.

I find myself drawn to processes that feel devotional. All prints are by nature acheiropoietos, sacred objects not made by human hands. Prints are made by the press, as an act of communication, in an entirely invisible process. The point of contact occurs in an unobservable, dark space, between the matrix, the ink, the press, the paper, and the pressure. I am interested in counterproofing, a process in which plates are run back and forth through the press to transfer imagery from paper, to plate, to paper again. This process ensures that the correct information is in the right spot from plate to plate, and it is entirely reliant upon my materials, putting the fate of the print in the hands of the press. My prints are built up, layer by layer, to build a world of sacredness, and create a potential for healing.