My body of work stemmed from living alone for the first time between the months of July 2021- April 2022. It was here I realized how much of my life and behavior was influenced by safeguards put in place when around another person. Living alone allowed me space to explore questions about my sexuality and relationship with domesticity as a woman artist working in craft. It was the first opportunity to have creative control over a multi room space, and explore how to translate my identity and taste into interior spaces. Coinciding with the beginning of my graduate studies, the lines between my artistic practice and personal life began to blur and intertwine into a singular journey of exploration of self inside of my apartment. 

       I see my work set firmly inside a rich community of women who engage with textiles and domesticity to explore feminist ideals. The work and life of Moki Cherry was particularly inspirational to my work this semester, as well as Legacy Russel’s Glitch Feminism, Miriam Shapiro and Judy Chicago’s Womanhouse, and Dr. Micha Cárdena’s concept to see the stitch as a basis for feminist theory. Micha introduces the stitch as “less violent than the cut, and intending to join, in the service of healing and creation, rather than in the service of destruction”. Working primarily with handmade textiles sourced from charity shops and vintage stores, I am interested in how art objects can hold community inside of them. I hope to celebrate the women who engage with crochet, lacework, and the various domestic art practices that have been historically snubbed and undervalued. The home can be a beautiful catalyst for women to find freedom of expression, creation, and exploration.