My works are based in ritual and process, employing techniques such as rubbing and stitching—actions that are evidence of the hand. I use rubbing on paper as a way to record identity, whose marks may be seen both graphically and/ or sculpturally upon the paper’s surface. Though the materiality of the paper is important since both sides are rubbed/ worked during my process, one side is generally viewed.

Themes of transformation play an important role in my work. I often see myself as an ‘artist as shaman’ using rubbing as a means to gather raw material for the purpose of altering, integrating, and even obscuring the original, rubbed/ frottaged marks further through the use of mixed media. Unconventional washes and traditional media may accentuate or cover the original rubbing/ frottage. For example, palimpsest marks appear ghostly as if to be locked inside the transparent sensibility of light–weight rice papers while woolen stitches stitched upon heavy–weight papers take on the affinity of animal hides and skins.

The versatility of a rubbing on paper lends itself to recording physical space as large as a building’s footprint and as small as 'everyday ephemera' fitting into the palm. Its spontaneity has given me the means to communicate like a ‘call and response’ methodology in collaborative projects, as well as, empower me with the ability ‘to be where I am,’ sourcing that which is in my immediate surrounding.