Artist Statement
Revolving around the reversal of circumstances, my work focuses on psychoanalysis as a method to unearth traumas that have previously laid repressed within my unconscious mind. Through bringing shadowed memories into the light during this vigorous psychological process, I reclaim and rework the phantasmic into tangible objects that reframe my trauma. My psychoanalysis is my art; my art is my psychoanalysis – the two disciplines are intrinsically intertwined.
I am deeply influenced by Freudian psychoanalytic theory and its feminist critiques by psychoanalysts such as Luce Irigaray and Bracha L. Ettinger, and the textile works of artists such as Louise Bourgeois, Mary Kelly, and Tracey Emin. Through traditional women's craft processes, such as needle-felting, sewing, and crocheting, I delve into the tangled threads of thought and memory, transforming them into tactile expressions of healing and empowerment. This allows me to confront the prison of memory head-on. The processes involve constant repetition and meditative states, offering an extension of the brain through the hand and pathways for aesthetic thinking. Using phrases extracted from my psychoanalytical notes, I experiment with visibility to encourage viewers to reflect on the complexity of the human psyche and the layered narratives within the work. The resulting pieces resemble ghostly memorials, capturing the essence of repressed memories suspended in the past.
Once completed, the work transforms into a catalyst for conversation about mental health, trauma, and human experience. It evokes an emotional response in the viewer that transcends the confinements of words, creating a lasting connection founded in resilience and reclamation.
I am deeply influenced by Freudian psychoanalytic theory and its feminist critiques by psychoanalysts such as Luce Irigaray and Bracha L. Ettinger, and the textile works of artists such as Louise Bourgeois, Mary Kelly, and Tracey Emin. Through traditional women's craft processes, such as needle-felting, sewing, and crocheting, I delve into the tangled threads of thought and memory, transforming them into tactile expressions of healing and empowerment. This allows me to confront the prison of memory head-on. The processes involve constant repetition and meditative states, offering an extension of the brain through the hand and pathways for aesthetic thinking. Using phrases extracted from my psychoanalytical notes, I experiment with visibility to encourage viewers to reflect on the complexity of the human psyche and the layered narratives within the work. The resulting pieces resemble ghostly memorials, capturing the essence of repressed memories suspended in the past.
Once completed, the work transforms into a catalyst for conversation about mental health, trauma, and human experience. It evokes an emotional response in the viewer that transcends the confinements of words, creating a lasting connection founded in resilience and reclamation.
