My work is an exploration of representing memory and its manifestation in inherited objects or sites of personal significance. Whether through printmaking or sculptural casting techniques, I interpret and record human traces via impressions. Although they vary, my material choices are frequently ephemeral, organic, and fragile—such as thin gampi paper, gold leaf, branches, ice, fire, metal, and latex. Most of my pieces begin as two dimensional or in relief and are later manipulated into installations. In previous work, I delved into familial artefacts such as my grandmothers’ needlework, principally translating their craft and the ethnic Macedonian embroidery symbols into copper plate etching. Through this I investigated themes of femininity, domesticity, displacement, absence, and heritage.

Artist Statement

Recently shifting my focus to architecture, I create latex impressions of the historic walls at NSCAD’s Duke Street campus. By stretching a sheet of cheesecloth on a surface and painting layers of latex across it, I build up a relief negative that is peeled away once hardened. The motion of peeling the latex off of the wall is reminiscent of my familiar printmaking techniques. Latex captures delicate marks and textures in the walls, holding onto elements of dust, bricks, dirt, paint, and rust, whether they are from construction, maintenance, or graffiti. This way of working follows traditions pioneered by artists such as Eva Hesse and Heidi Bucher. The resulting latex images are like ghostly mirrors of their matrix, and their eventual decay will embody developments in the building. My intention is to memorialize the space and the narratives that have played out within it, viewing the building as a sort of visual diary of everyone who has passed through it.