“My work has always in some way dealt with ideas of economic migration and the search for shelter/stability. I reference some of the places, good and bad, that I’ve lived in. I reference Mexican blankets, nature, chainlink, and other domestic imagery that’s meaningful to me.”

“Lately I am revisiting old pots. I am building new layers of coils, smoothing them, and incorporating more glazed forms in this new layer onto the surface of something that has already been fired. The process of firing the work starts over, and the layers keep being applied until deemed done. This second chance of being something else is important to my practice in the studio and out of it.”

“I’d say most of my work is begins with the appropriation of images, signs, and materials that don’t have an explicit author, but belong more in a collective psyche as terms marked by an inherent ambivalence: country, race, sex, body; the way that flags both indicate where you are, and and also designate the distance to be read far away.”

“I think a lot of my work lately has been to participate, and to think about how I can help in the world. So I usually start with an idea, and the materials follow. Sometimes that process results in an object, but often it can be a role, or a record, or about the process itself.”

“My paintings describe and explore through the physicality of the paint: billowing, tumultuous clouds, a plane of land gashed apart by an earthquake, a frightening wave of water, the rapid deluge of floods, the rising ephemeral smoke from a fire.”