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Recent Works




Falsework, 2024




Falsework seeks to represent the mind as a construction site. Using domestic objects cast in latex as stand-ins for memories, the skins of these objects dance through the barriers of the site. Resisting and in some cases succumbing to the structures they try to navigate, the objects rebel against their scaffolding. Whether bursting from sandbags or getting tied up in caution tape, these recollections defy the attempts to keep them static. Falsework is a temporary formation, showing the mind, only as it appears in this moment. Over time the latex will degrade, taking the objects and the memories they represent with it.


Photos by Loanne II Tran.



The notion of memory is a chimerical dream, 2024




The notion of memory is a chimerical dream investigates the fragility and fallibility of memory by representing the mind as a construction site. Recent studies have revealed that forgetting is not a glitch in our memory, but a distinct and purposeful force. Using every-day objects from interior and exterior spaces in the artist’s life, the ever-fading, intangible ghosts of past thoughts, feelings, and experiences are captured in the bioplastic sculptures. They will eventually deteriorate as just the memories do, becoming an unearthly reification of how memory functions in the brain.

“We are our memory, / we are this chimerical museum of shifting forms, / this heap of broken mirrors”
–Jorge Luis Borges


Photos by Em Moor.



City Skins, 2023



City Skins is a series of flexible latex casts taken from the urban landscape. The work looks at using things that go unseen in a modern environment as a non-traditional way of mapping. In making the casts I spend long periods of time waiting for the latex to cure, solidifying memory, and forming intimate connections with the objects.


Photos by Vivian Zeng. 



In Place of You, 2022



In Place of You speaks to the complex kinship between objects and memories. While using everyday objects from my life as containers for feelings and experiences, I have found that objects most often fail to hold all of the meaning I try to instil within them. The imperfect copies of the objects embodied in the translucent, latex skins show the slippages of memory. These multiple, flawed, ghost-like layers suggest a shared history and investigate the intricacy of human relationships.


Photos by Loanne II Tran.