My art is about the people we carry with us.

There is a cumulative intensity to the gesture of marks I carve as I explore tenderness, the temporary, and generational space between people.

Through the subtractive mediums of figurative woodcut and paper cutting, I reveal images in the material over time. Time erodes surfaces, and I imitate that evidence of memory by drawing with a blade.

I use the lens of my upbringing as a Jew in rural Alaska to consider place and diaspora. The images and texts I compose are tied to that constant yearning to gather, which I translate into my ritual practice of taking these delicate pieces of paper into the world to be used as “viewfinders”. I often laminate my papercut stencils to place them in bodies of water, having the waves read my work as non-traditional books. The negative space illuminates conversations between sky, ocean and city.

I purposely alter the preciousness and archival nature of my work because I believe that in order for history to live within us it must be shared and mortal. 

Honoring the punk legacy of quick and fast graffiti stencils, as well as the traditions of papel picado and Chinese papercut that are prolific in the Bay Area, I make unorthodox bookforms. I believe in the layers of stories that objects and art contain. My craft is an extension of printmaking: generating multiples of an idea. My work is meant to be lived with, in community spaces and in reciprocity. I wish to connect the radical with the personal.

I explore the endurance of grief and the elastic capacity of people. My visual language combines non-linear poetry, storytelling, and portraiture honoring unseen emotional labor.