I create photographic, textile, and virtual works that act as an anthropological and personal investigation into my upbringing in a southeastern, rural, Southern Baptist community in the early 2000s. My various approaches to artmaking are not parallel ways of making; they often intersect and lean on each other to better communicate my notions regarding family history, degradation of memory, and dissonance in nostalgic experiences.

My work addresses ideas of isolation and invisibility as they relate to being raised in the Southeastern United States. In my youth, I was led to believe by popular media that having a Southern accent would make me an outcast or easy target in academia and limit my ability to be successful. Movies, TV shows, plays, and even books used what was my manner of speaking to denote lower social or academic intelligence. After training myself out of my Southern accent and severing myself from the Southern Baptist Church, in many ways, I have become the only one to cast myself out. This realization is the primary motivator for my present body of work.

My Nana's house and yard, my Mimi's quilts, my childhood Bible study notes, and appropriated Precious Moments characters styled as self-portraits: layering and combining of family histories. In these arrangement, the self-depreciating thoughts of a 14 year old girl - myself - sit unassumingly within images of quilts and home – things traditionally associated with comfort. Focusing on the layering of different Southern aesthetics within one work, I discourage separation between aspects of a culture and instead consider its parts in context to one another.