The human brain is not inherently hardwired to read or write; instead, modern text recognition evolved through a gradual reconfiguration of pre-existing visual processing skills over thousands of years. As literacy emerges as a contentious currency of our time, I am drawn to the complexities of the observable alphabet and the implications of its invention. Guided by synchronicities and a tangential rolodex of research topics, my studio practice is a synthesis of ir/rational thought. My archive based practice encodes a neurodivergent history of literacy into multimodal paintings and sculptures that reference spell check, instruction manuals, standardized measurements, and the physical language of sports.

   Through an amalgamation of published imagery and everyday office supplies, I engage with found objects as a tangible study of the writing process. My vast collection functions as a modular dictionary in which distinct definitions are exchanged for familiar forms. As an artist, I am also an editor: I add, subtract, and rearrange visual components until they formally and pragmatically converge as one. Whether assembled laterally on pedestals or vertically in gessoed panel, these working documents consider the interplay between objects and words, as well as objects as words. Despite their inert properties, I contend with each segment as a dynamic opponent in the studio, reminiscent of my own experiences with labored learning.