I sculpt using the mark-making movements of digging. My work, being as much about process as it is about materiality, attempts to transform naturally-sourced and man-made mediums—casting with them, compressing them, or revealing features of them—to uncover the critical role that materiality plays in the context of archeology, landscape art, and the politics of the garden. By re-processing my materials over and over, from the primary holes I dig, to the tertiary, texturized and compressed paper cast of a plaster cast of that hole, you are pressed to analyze my initial digging action. I ask, what does it mean to study a dug artifact, as I do, when the artifact is the hole itself? And thus, what happens when the phenomenology of hole-digging and the maker of the hole are the focus of analysis and critique?

In a talk addressing my highschool, Jamaica Kincaid, an Antiguan American writer and novelist, stated “the garden is always political.” The engineered garden behind my home in Brockley, existing both in city and a special space beyond the urban, has become critical to my phenomenological research about digging, grasp of materiality, and the female body in the landscape; and in fact, centering my physical practice in gardens operates as political action, and inherently impacts the findings of my process-led research. My external research (how contemporary artists tackle space constraints in London, Mendieta’s earth-body art, Kew Gardens, my cultivation of Spainish cacti and cochineal beetles, the archeologist’s psyche etc.) is thus meant to intrude into my dealings with the garden, and my transformation of materials in ‘garden-adjacent’ works. 

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