My practice often explores the politics of taste, class, and art. This tendency is best evidenced by my continuing use of materials which bear histories of taste and accumulations of labour. My digital and slide projections utilize archives of damaged family slides, and found snapshots. My mixed media works combine painting, drawing, and photography with materials such as used linoleum, t-shirts, mattresses and plywood. I seek to connect viewers to social and cultural stratification through the use of socio-historically laden materials.

A concern with ascribed hierarchies of cultural value is manifest in my reconfiguration of quotidian, outdated, and discarded media. Discomfort with the nexus of art, power, and knowledge leaves me keen to undermine art as a sphere remote from those without the requisite privileges for access. My artwork often displays concern with its own assumption of cultural value. As a prestigious realm of knowledge and culture, I see art functioning in part to legitimate and perpetuate uneven distributions of cultural power and authority. I am especially interested in the gender dimension to these politics.

My work often registers the potential for critical autonomy outside the realm of elite art. Here I investigate how leisurely modes of insight outside bourgeois categories of competence, and value may harbour disalienating potential through a general will to knowledge, self-representation, and creativity. I strive to nuance my considerations rather than reassert a dichotomy between high and the low taste. Many of my projects extend the notion of art as an everyday category of experience and popular practice in radical disalignment with consumer culture. I often re-valuate media in order to highlight certain quotidian experiences and practices as potential sites of consciousness-raising, if only as a reconfiguration of unwanted material bearing the broken utopian promise of the commodity.