My practice is driven by a self trust that allows me to explore the complexities of my familial and personal trauma. The site of this exploration is my studio, which is a space that holds itself together by this trust and occupies ground at the edge of standard western biopolitical structures—the systematic administration of lives. This distant occupation doesn’t remove my studio from these structures. This is impossible. Rather, the distance allows space that helps provide an intention towards my practice.
  This intention promotes a mindfulness to which I have to prepare a full criticality of everything, including that of myself. Through this, I then feel comfortable enough to give myself permission to analyze the trauma and divisiveness Western biopolitical structures can produce in lives; most notably the trauma it has created within myself after nearly a decade of incarceration, and the alienation formed in past generations of immigrant auto workers in my family.
  Western biopolitical boundaries are often drawn by many structures, most notably class, law, race, and gender. My practice explores the administration of these structures. This administration of lives produces standard formalities that generations of peoples embody.
  Within my practice, I choose to mimic this embodiment through selective material manipulation, and to produce structural forms of my own to hold and carry these embodied materials. In formality, this approach mimics biopolitical administration, and allows me an opportunity to explore the prevailing western idea of livelihood. Alienation is a leveraging of lives, which doesn’t permit space for one to feel authentic moments of self realization. This is the violence in the administration of societies. My studio and I reject alienation. As I explore, create, destroy, and embody, my life is my own dedication, and my practice belongs to no one but myself.