I am a maker and writer invested in palpable process-based craft practices. My works illustrate the desire to slow time, to express an appreciation for the things in our lives that are often overlooked. Tactile ceramic and fiber-based sculptures are installed with an array of ordinary mementos. I collect smooth pebbles, cracked shells, dried carcasses of urchins and jellyfish from the seashore. They sit amongst shards of soap and the accumulation of dust bunnies on my studio floor. In combination with my rippling handmade paper and porous clay bodies, my installations start to unfold a personal mythology -- one that seeks to turn the everyday into a scene of surprise. I want to provoke my viewer to notice, to appreciate the way magic and mystery sit alongside the banal and routine. The uncanny configurations of my objects are site responsive, seeking to highlight pre-existing cracks in discrete spaces. Resisting immediate recognition, they tear at our assumptions of understanding. Through the collection and manipulation of everyday debris, I want to destabilize existing hierarchies and suggest a second glance at the things we think we know.

My object arrangements sit parallel to my writing practice. Through the combination of characters, I am circumscribed to the specificity of each word, but in addition to their use as signifiers, I am drawn to the tone and cadence of a string of words. Like each object shaped or collected by my hands, each syllable can be felt --  its vibrations oscillating within the inner ear. With English and romanized Taiwanese, I write of my own experience, my encounter with objects and my making of them. A private gesture made public, my writing acts as a diary, chronicling and cataloging insignificant moments of incredible feeling.