My installations connect identity, history, and topography using the landscape of Central Virginia, where I was born and raised. Located 100 miles west of Washington, DC, the Piedmont region of Virginia combines expansive natural beauty with a turbulent history that includes centuries of chattel slavery, brutal Civil War battles, and the ongoing impact of racism and white supremacy today.

I build room-size installations composed of large-scale linear drawings and carefully-incised sculptural forms that are installed on the walls and floor of a space. I use acrylic paints and acrylic inks on large rolls of paper. The nonrepresentational drawings and the cut sculptural forms underscore the expressiveness that abstraction brings to the subject of the work. The combined drawings and sculptural forms reference topographical maps and abstract figurative forms meant to communicate particular themes.

I use Lenox 100 paper to create all parts of the installation. It is a material made entirely of domestic cotton that invokes the racial transgressions of the South. The paper is precisely cut to suggest gestural human-like forms that explore historic and personal events. By combining drawings and sculptural forms in an installation context, I aim to bring a personal interpretation of what creates a sense of identity, history, and place.