I focus on figural representations and references to the body by sculpting various stages of figural completeness or physical fragmentation. I find that the figure, in all of it’s stages  of completeness and degrees of visibility, covey emotions and ideas to viewers better than any other imagery. My newest works have developed into figural representations without the figure being fully present. As I create my sculptures and installations I work with my hands and body to create objects. I use the power imbued in objects through a range of personal interactions and the value placed onto them. Through my bodily interactions with these objects I am able to represent the figure doing and making. When creating figures many are abstracted, fragmented, or represented by contours and visual allusions to their presence. I seek to evoke empathetic responses to emotional cues from created objects. My figures, the processed and sculptural contours, are representational stand-ins for intangibles such as: experiences, thoughts, and ideas. These metaphorical stand-ins are used to convey feelings or memories related to the concept of the objects existence. Most of my works deal with gender inequities that I have experienced and through using feminine figuration and bodily references I retell my experiences to remind the viewers of the still prevalent issue. I utilize long processes such as; metal casting, crocheting, sewing and, resin casting, to name a few. I favor hand-working my sculptures and installations with manual tools and equipment over pre-fabricated or digitally manipulated objects while still ensuring the time spent is prudent to the concept by showing the labor. With these processes I create artifacts from my actions and interactions with materials that speak to the body’s interactions with the materials and creation. Through ideation, material manipulation, and the final presentation of my sculptures and installations, I align my work in the progression of Process based, conceptual, and feminist art that has be created before me. To re-contextualize these artistic movements through my current lens I can rekindle the push for total equality.