I use different systems of abstraction to articulate how the fluidity of identification and the distortion memory inform my self-perception. I utilize clay’s ability to retain gesture, place and time as a central methodology in my practice, allowing me to work within a variety of materials in addition to ceramics, such as videography, architecture fragments, sound, and cardboard. I use physical and intangible forms of rhythm to observe how a persona and contextual environment are constructed through cycles of pattern recognition, pattern making, and pattern breaking.