SINNERS MAKE ART
SCULPTURE
SCULPTURE - METAL WORK - WIRE
THE PERFECT PAIR
020425 aluminum wire “The Perfect Pair” began with a question: how can I incorporate the viewer’s body into my work? Working with a wire-weaving technique I developed myself after being inspired by Ruth Asawa’s sculptures. I explored how form, scale, and space can create an embodied experience. But this piece grew beyond the question. It became deeply emotional. Each loop of wire became part of a personal reckoning: the challenge of choosing between life and art. What does it mean to push forward when everything around you feels clouded? This work held me through that uncertainty. It became both a sanctuary and a test of perseverance, vulnerability, and creative survival.
CHAMBER OF REFLECTION
021125 This performative art piece explores themes of self-imposed entrapment, labor, and the cyclical nature of creation. The artist, positioned at the center of a wire structure, continuously weaves new strands, expanding and reinforcing their own enclosure. This act serves as a metaphor for the ways individuals contribute to their own limitations—whether through societal expectations, personal habits, or the pursuit of perfection in creative labor. The material itself—rigid, metallic wire—suggests both protection and confinement. It evokes ideas of armor and security while simultaneously highlighting the weight and restriction of the artist’s growing enclosure. The durational aspect of the performance underscores persistence, resilience, and the inevitable consequences of one's actions over time. By remaining within the structure as it closes in, the piece also gestures toward themes of isolation and self-reflection. It prompts the viewer to consider how their own actions, routines, or creations may contribute to the walls they find themselves trapped within. The performance invites contemplation on the delicate balance between growth and constraint, autonomy and entrapment, creation and self-destruction.
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112824 Aluminum wire, rod Focusing on how different patterns of loops can create different wave patterns. Wire weaving in a way has become very spiritual for me. It feels like I’m connecting to traditional Indigenous practices in my own way. I feel connected to my Indigenous identity when I am creating.
3AM CHILDHOOD
112024 Video, tv, metal wire, rod, chain Featured in Interoception A reflection of my childhood at 3am. Thinking about how being in and out of sleep staring at the tv, eyes blurry. Capturing this weird vivid sleepy feeling.
THE PLAYLIST
040224 Metal wire sculptures Running Out of Time - Center Positive and Patient - right Strange ways - left Night train - behind Each piece is inspired by music that helped me create, that would be played on heavy repetition the whole time I made each piece. That is why the final collection of these pieces is titled The playlist. Without music and taking inspiration from those artists I love my pieces wouldn’t be the same. In a way I’m exposing my audience to some inner workings that go into my thought process. It starts with music. It always has.
STRANGE WAYS
031224 Metal wire, rod An experimentation of pattern to create this new 3D shape.
POSITIVE AND PATIENT
021324 Metal wire, glass beads, rod For my second wire sculpture I wanted to create something more 3D. working with the wires natural wave and playing with pattern this piece was created.
RUNNING OUT OF TIME
103123 metal wire, plastic The first of my Metal wire sculptures. Taking heavy inspiration from Ruth Asawa but putting my own touch to it.
SCULPTURE - METAL WORK - WELDING & PLASMA CUTTING
METAL GROWTH
091724 Metal rods, sheet metal One weld holds it all together. A gifted structure reconstructed to create my own balance.
9 FOOT FOOT
092823 Metal rod welded together The artwork evokes themes of fragility, balance, and the interplay between nature and human-made structures. It invites viewers to reflect on the relationship between the natural world and geometric precision.
HATE WITHIN GROWTH
090123 Plasma cut, sheet metal, with spot welds My first time using a plasma cutter. I wanted to create something that contrasted beauty and harshness.
SCULPTURE - WOODWORK
COLONIAL RED
101524 Bass wood, found wood, spray paint, felt fabric This piece holds a heavy heart, reflecting on personal ethics of being an Indigenous artist. I was questioning when do I speak, where do I speak, and why do I speak. Why am I allowed to have a voice when others have had it taken? Thinking about our lost sisters and how my heart has always felt heavy for these women whose voices were taken, I reflected on how the media has dehumanized murdered and missing Indigenous women. I wanted to think about the families—if they saw my artwork, how would they feel? I wanted to focus on sharing a small personal detail about some of the Vancouver MMIW from the 1990s to the 2000s. I did this by embroidering each woman’s initials onto each dress. It was like I was spending a moment with each woman, getting to know them. I spent many hours trying to come up with as many details about these women as I could so I could feel like a friend. I really just wanted to create more conversation about these women specifically, rather than just focusing on the injustices they faced. Coming back to why I speak on this—I’ve always felt like the story of who these women were gets lost in the media. Often, even their names get lost, with the focus being on tragedy. I’ve never been directly connected to my band, which created conflict in my Indigenous identity. Everything I have learned about being Indigenous has come from my own curiosity. Part of that curiosity was understanding why so many Indigenous women go missing. There are so many factors that play into this—generational trauma, lack of resources, societal neglect. I felt that, as an Indigenous person with a voice, it is my responsibility to talk about the beauty of these humans who were taken from us. That’s why I felt I should speak—because they can’t. Their voice was taken from them. I felt responsible for holding space for my missing sisters, somewhere they could be remembered. The idea of holding space for them was created by 65 chairs—a place for each missing woman to sit and converse.
SECRET GARDEN
103122 Wood burning, floral piece First year sculpture my first peace that really set in the fact of this whole making art thing was real.