Individuals, shaped by their own specific cultural beliefs, are the transmitters of historical perspectives. Each recounting takes the imprint of a time and place sewn into the narrative. I view personality building in much the same manner.  As humans, we go through a similar process in order to express our current self-description to others. Often a discrepancy exists between how we see ourselves and how we would like others to see us. It is discrepancy that my work examines. I am interested in how personality construction can cause a rift (alteration) in truths between people. Subtle incongruities can lead to completely different versions of truths passed on to others. It is my wish to better recognize these inconsistencies in order to more deeply investigate my own understanding of my past and my personal version of history.


I have always struggled to navigate the incongruity between pride in my rural heritage and the need to distance myself from its undesirable aspects. In my effort to better understand the “soup” in which I was stewed, I have begun to incorporate materials and processes I associate with poor, rural living.  Mending clothes and constructing dwellings were two crafts handed down to me through my parents and grandparents. I have come to see the use of these processes and materials as symbolic of the feminine and masculine aspects of my upbringing. The clay has come to symbolize myself within the trifecta. I believe that using the components of my rearing is the most effective way for me to question the cultural and religious education of my childhood as well as to examine how I see myself in relation to my past.