My practice begins with the body — my own, other people’s, imagined, reproduced, and archived — and with the ways bodies are turned into images, symbols, evidence, and spectacle. Working across performance, moving image, sound, text, painting, and installation, I use autobiography, research, popular culture, and religious iconography as materials to be staged, distorted, and reassembled.

I treat my own image and biography as unstable material rather than testimony. Personal experience enters the work through exaggeration, fiction, reconstruction, and repetition. I am interested in the distance between a lived body and the image made from it: how femininity is performed, how icons are produced, and how bodies become desirable, sacred, excessive, or disposable. Camp, sacred kitsch, glamour, and pop-cultural imagery sit alongside exhaustion, violence, desire, labour, and shame.

I return to the question of who gets to name, interpret, preserve, and circulate a body and its image. My work restages inherited images, contaminates familiar narratives, and disrupts the meanings attached to bodies, icons, and histories. I am interested in keeping the body unstable — resisting the moment when it settles into a single image or a single meaning.