I engage with art-making as a process of mending. I choose this metaphor deliberately and often act on it literally. Mending is primarily associated with clothing or articles of personal use, and then extended to relationships. As opposed to other forms of repair, traditionally undertaken by men in a professional capacity, mending is largely non-transactional and often delegated to women. Instead of a mundane and purely utilitarian act, I see mending as a creative gesture that confronts fragility, vulnerability, and impermanence, is reminiscent of the particularities of context, embodies hope and continuity in spite of rifts, and foregrounds the feminine and the intimate. By pulling a thread from this literal form of domestic repair to suture frays in the public domain, I attempt to rethink societal wounds, darns, and scars as liminal spaces that can transpose us into futures without erasing the past.

I am interested in exploring how my artwork, even when grounded in local materials and symbols, can speak to issues beyond the local by situating my practice within global conversations around race, gender, and power. I would like to generate dialogues between subaltern tropes and feminine forms of labour from the global South and the agendas of resistance movements of minorities and marginalized communities in the North. Furthermore, I continue to explore how art can function as a mode of public discourse rather than being a self-contained discipline.