My work reflects a synthesis of cross-cultural perspectives, in which conventions of power dynamics, discipline, and repression are examined through large-scale sculptural forms. 

 

MOTHERLAND, my most recent series of sculptures, directly references the visual and material history of the Khmer Rouge regime. Fabricated primarily from wood and steel, the forms evoke at once body and weapon, appearing as mutilated appendages suspended upright by cable.

 

Militaristic violence is felt to be historically patriotic in America, while cycles of repression in response to trauma are perpetuated in Khmer culture. Informed by family retellings of the war, the abject structures memorialize suffering while satirizing Western attitudes toward conflict.