Pom Pom

 I use video projection and installation to highlight episodic memory, particularly my remembrance of body shame while on my high school drill team. I explore the ritualistic nature of small town southern culture, the rigidity of the drill team and the lack of flexibility found within that structure. My video work is a journey through the ritual of trauma (pom pom 1) the scattered memory I carry (pom pom 4) and the alchemy of creating my own power through those experiences and memories.

The temporality of time and rhythm through the camera's lens allows my video work to build upon the oppressive structures placed on me in my youth. Finite pacing and a stripped color palette of black, white, and pink places the viewer in an intimate and uncomfortable performance. A relentless urgency builds psychologically through visual pacing, continuously interrupted and repeated. This manipulation of time and pacing brings the viewer into a cage of expectation and racing thoughts that show no sign of abating. 

Installation images from the solo exhibition Belonging, Sweet Lorraine Gallery, October 2024.

Disabled Caregivers' Utopia

I am drawn to the idea of a Disabled Caregivers' Utopia and what that concept could mean for each person with a disability. Accessibility is a universal need, yet every individual’s experience is unique, and caregiving is equally complex. The support offered to disabled individuals—whether through programs, financial aid, mobility tools, or mental health services—varies widely. Likewise, the help required by disabled caregivers is multifaceted, encompassing both emotional and physical support, the embrace of community, co-parenting, and the experience of being “held by others as you hold your own.” There is so much to unpack within these overlapping roles and needs.

The term “utopia” has dual meanings in Greek: it can describe either “a place of ideal perfection, especially in laws, government, and social conditions,” or “an impractical scheme for social improvement.” The impracticality inherent in the latter definition gives me pause, particularly as a disabled individual. Many of the accommodations that would make my life easier—or simply equitable—are often dismissed as impractical or treated as afterthoughts by society.

The notion of “a place of ideal perfection” becomes especially fraught when viewed through the lens of a disabled body. The pursuit of perfection carries with it the implicit message that anything outside of that ideal is inherently “other.”

It is within this space of otherness that my caregiving exists. So, the question remains: where do we, as disabled caregivers, fit within the broader vision of a Caregivers’ Utopia?

Installation images from the group exhibition MAMA NEEDS A RAISE at Old Stone House, Brooklyn, 2024.