Title: Vigil of the Void
Year: 2026
Venue: Upper Market Gallery
Description: The candles burn as recognition of the systems that have shaped, disciplined, and confined the female body. As the flames fade, so do their claims.
Silence becomes resistance, endurance.
This is not submission. This is reclamation.
My body is not to be consumes, but is a place of quiet power, a place I return to.
Title: My MaRbLeS
Year: 2025
Venue: Martin Wong Gallery
Description: My MaRbLeS is a durational performance conducted within the installation Possessions of a Passing Moment at Martin Wong Gallery. The artist moves through the space, collecting marbles from the environment—first by hand, then in an apron-like skirt pocket, and finally attempting to contain them in a jar. As the performance progresses, marbles spill, are hidden, and are repeatedly gathered, creating a rhythm of accumulation, loss, and discovery. The final act sees the jar shatter, sending marbles and broken glass scattering across the floor, emphasizing the fragility and impermanence of control.
The performance explores the continual tension between order and chaos, presence and absence, and the ways we attempt to hold onto moments, objects, and parts of ourselves. It reflects on the cyclical nature of life and artistic practice, the experience of losing and reclaiming one’s “marbles,” and the inevitability of release and transformation. Through embodied movement and interaction with the installation, My MaRbLeS becomes a meditation on memory, control, and the playful yet poignant fragility of existence.
Title: Possessions of a Passing Moment
Year: 2025
Materials: Found: clocks, chairs, side table, basket, cookie tin, markers, books, shell, leaves. Gifted: flowers, needle holder, lock, harmonica, candles, markers, spray paint caps, thread, toy car, flask, cards, fire works, scissors, ipod shuffle, train whistle. Made: Ceramics, fabric scraps, chair cover, note book pages, candle. Inherited: sewing patterns, harmonicas, hand fan, books, toy airplane, watch, sewing pins, thread cutter, jar of shells, jar of buttons, thread, china marker, swiss army knife.
Description: Possessions of a Passing Moment is an assemblage of found, gifted, inherited, and made objects, including clocks, chairs, ceramics, fabrics, books, harmonicas, and personal artifacts. The work gathers items rich with memory, reflecting the intimate traces of daily life, relationships, and experience.
The installation examines how identity is embodied in the spaces we inhabit .Our homes, our rooms, and how the objects we surround ourselves with carry personal history. Each piece acts as a transient anchor, simultaneously holding memory and highlighting impermanence. Possessions of a Passing Moment becomes presence, absence, and contemplates the ways we express and negotiate selfhood through the material world.
Title: Adorned In Thorns
Year: 2025
Medium: Ceramics
Dimensions: 4’x3’x6”
Description:Adorned in Thorns is a wearable ceramic suit of armor, with shin guards, knee guards, forearm plates, and a chest piece tied to the body with corset-like ribbons. The hard, sharp ceramic surfaces and the constriction of the ribbons create both protection and discomfort.
The work examines the tension between vulnerability and self-preservation, asking what it costs to shield oneself and whether the defenses built for safety can also wound. Through its materiality and wearability, Adorned in Thorns becomes a physical reminder that tenderness and resilience can coexist within the same body.
Title: Threadbare Innocence
Year: 2025
Materials: Smoke bombs, my hair, ribbon, buttons, found metal objects, thread, fabric, paper, water color, candle, pocket knife
Dimensions: 18”x18”x1/2”
Description: This series explores societal expectations and early objectification. The quiet resilience of a girl still discovering her place in the world.
Title: Garden Wall
Year: 2025
Medium: Glazed Ceramic
Dimensions: 6”x20”x9”
Description: Garden Wall is a glazed ceramic sculpture inspired by the natural defense systems found in blackberry plants. The work reflects on how thorns exist to protect what is soft, sweet, and vulnerable at the center. Through its form and surface, the piece explores the relationship between protection and tenderness, and the instinct to shield what feels precious or exposed. Garden Wall becomes a quiet study of boundaries, resilience, and the balance between guarding oneself and allowing the possibility of connection or growth.
Title: As It Burns
Year: 2025
Materials: Wood, nails, upholstery studs, candles, ribbons, fabric, dried lavender, dried cecil brunner petals
Dimensions:6’x8”x1’
Description: Time sensitive sculpture. “As it Burns” explores the complex journey of emotion, healing, and the process of forgiveness. The piece reflects confronting and releasing feelings that I often intellectualize rather than fully experience. It addresses the movement from emotional defenses to emotional release and acceptance.
Title: Collective Resonance
Year: 2024
Materials: Wood, nails, bolts, recycled materials
Dimensions: 4’x5’x3’
Description: Portable social practice ‘trash’ piano. Installed in Golden Gate Park and Ocean Beach for the public to play.
In collaboration with Kualii Wong (This piece is designed to transcend individual experiences and foster connection through the universal language of music, creating a dynamic space for community engagement, creativity, and play. At its core, Collective Resonance celebrates shared space, collective consciousness, and the joy of collaborative expression.Made from recycled materials and found objects, each element of the sculpture produces distinct tonal frequencies that interact with one another in a lively symphony of resonance. As people approach and interact with the sculpture, they influence the larger soundscape of the environment, contributing to a living, breathing composition that is ever evolving. Whether a seasoned musician or someone that has never touched an instrument before, the accessibility of the piece cultivates a space for spontaneous, uninhabited participation. It encourages creativity, exploration, and a return to the childlike joy of making sounds without the pressure of judgment or expectations.It is designed to make music more accessible to the public by breaking down preconceived barriers of creativity. Instead of requiring technical knowledge and existing skill, the piece centers curiosity.)
Title: Edging Comfort
Year: 2024
Materials: Wood, Nail, Glue, Foam mattress, My bedding (2 pillows and cases, sheet, blanket, duvet and cover), Candle stick, Candle stick holder, Harmonica, Magnesium vitamins, Lavender essential oil, Lemon balm extract, Half drank cup of tea, Oil diffuser, Various self-help and non-fiction books, Journals and sketchbooks from middle school to present, Fruit, vegetable, and flower seeds, Wax pen, Urgent notice bill, Pg&e bills, Parking tickets, My late grandfather’s oil paint and brushes, Pens, Pencils, Ceramics Tools, Vibrator, Textbooks, Sewing Machine, Scrap Fabric, Sewing Patterns, Keyboard, Roller Skates, Chamomile tea, Home grown lemon balm tea leaves, A Hammock, Slack-line, Tattoo ink, Pipe, School Clock, Old Broken Clock, Childhood Alarm Clock, Fan, Two Extension cords, My Laptop, Heating pad, Sneakers, Slippers
Dimensions: 10’x5’x7’ (Cite Specific)
Description: Edging Comfort is a site-specific installation built into the stairwell of the SFSU art building. The work brings together domestic objects, personal belongings, tools, archival materials, and remnants of everyday life, arranged within a wooden structure lined with bedding and foam. The space evokes a bedroom, a workspace, and a storage corner simultaneously, creating an environment that feels lived-in, familiar, and slightly unstable. Viewers encounter an accumulation of objects that carry emotional, practical, and symbolic weight, ranging from bills and textbooks to heirloom materials, seeds, journals, comfort aids, and tools of making.
The installation reflects on the negotiation between comfort and discomfort, stillness and urgency, rest and productivity. It mirrors the tension of trying to care for oneself while navigating expectation, survival, and growth. Through its intimate scale, personal artifacts, and layered histories, Edging Comfort becomes a portrait of a life in progress and a space where healing, avoidance, nostalgia, and daily maintenance coexist. The work asks how we create safety, how we hold memory, and what it means to build a soft place inside a world that rarely pauses long enough to allow rest.
Title: Cloak
Year: 2024
Materials: Fabric, Ribbons, Upholstery studs, metal hardware
Dimensions: 9’x3’x3’ (hangs)
Description: Cloak is a suspended textile enclosure constructed from layered fabric, ribbons, upholstery studs, and various metal hardware. Designed to be entered, it offers a small interior space where privacy and vulnerability coexist. The work draws from the function of clothing as both personal expression and personal defense, reflecting the ways we dress to communicate identity while also protecting ourselves. Each layer references a different stage of life and the shifting balance between visibility and safety in a world shaped by female objectification and sexualization. Through scale, material, and interaction, Cloak explores the intimate tension between autonomy, protection, and the systems that shape how we present ourselves.
Title: It’s Open
Year: 2024
Materials: Wood, nails, screws, locks, light switch, lightbulbs, paint, spray paint
Description: It’s Open is a site-specific installation housed within two school lockers and constructed from wood, hardware, spray paint, and functioning light components. Viewers are invited to open doors, lift lids, and activate a hidden light switch enclosed beneath a box covered in locks. Though the locks suggest restriction, none of them are secured, reflecting the tension between perceived barriers and actual access.
Drawing from personal history, the work considers adolescence, privacy, and the protective emotional structures built in response to scrutiny and vulnerability. When activated, small points of light scatter through perforations in the walls, symbolizing the reopening of what was once guarded. Through interaction, It’s Open becomes an exploration of trust and healing and a reflection on the slow shift from hiding to allowing oneself to be seen.
Title: Two Cents Sense
Year: 2024
Medium: 500 note cards and 348 4”x6” photos
Dimensions: varies on installation
Description: Walking around The Great Highway, Golden Gate Park, Haight street, The Castro, The Mission District, Pacific Heights, The Fillmore District, The Tenderloin, North Beach, Chinatown, and The Financial District, I collected 500 pieces of advice from the beautiful people of San Francisco, paying each two cents for their two sense. Exchanging pennies for pieces of wisdom.
Title: E-Waste
Year: 2024
Medium: Found discarded electrical cords and components
Dimensions: 4’x3’x2’
Description: E-Waste repurposes discarded cords, projector parts, and electronic components, transforming technological debris into a dense, tactile structure crowned with an unblinking mechanical eye. The piece reflects a world rapidly accelerating toward surveillance, extraction, and disposability, where devices watch us as much as we use them. It considers the precious resources hidden inside everyday electronics, including copper, minerals, and water, materials taken from the earth at the expense of ecosystems and stability. In its altered state, the work asks us to reconsider what progress means and what we are willing to sacrifice in pursuit of it.