Tell us about your practice.
My work focuses on kombucha as a corporeal potential and follows a material logic. The sculptures are ephemeral and constantly morphing. Conceptually, it is important for me to work with one kombucha mother, creating a lineage of offspring based on a matrilineal ‘family tree.’ After growing the organism in a large vat, I subtract layers of ‘skin’ from the mother culture and use the flesh-resembling matter to create amorphous ‘bodies.’ Fermentation is a form of domestication, and a jar of kombucha culture provides a small portal into the way life happens.
My sculptures are alive in a literal sense, and the appearance of the work changes over time. In theory, it is possible to return the ‘body’ to the culture, the mother. However, the risk of contamination is extremely high. The method expands on the relationship between mother and child, representing an intimidating collapse in meaning caused by the loss of the distinction between self and other.
I am interested in the sexualized and grotesque, and the work often depicts a hanging disposable body, where the ‘skin’ operates as the trope. The fetishized Other has emerged from the motivation to ‘know’ those who are unfamiliar and to subjectively understand the culture. Through transformative installations, I aim to control the gaze by creating scenarios in which I seek to control, contain, and master.