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I’m a caretaker for my mother, who lives with Multiple Sclerosis nearing over 35 years. My artwork originated as a mechanism to cope with her chronic progressive disease.  I started obsessively making with her image embedded as the subject; perpetually questioning how one’s human condition could be portrayed visually. Relentless hours spent documenting her gestures transformed my practice into an intimate narrative alluding to an inextricably dark yet humorous past–a repertoire constantly evolving into its own personal mythology. Interrogating the relationship between my mother and I led me to my current series of work where I question my own self awareness.

At first glance my work feels whimsical and absurd but at its heart deeply self-reflective. Emerging with a sharp existential focus and philosophical overture is my visual language; highlighting a fictionalized sense of self through manipulations of words and objects. Each piece functions as a glimpse into my stream of consciousness, a tangential view of an inner life bound by the meaning of memory, language, and relationships. I scour an immense personal family archive for images and materials to dissect and rebuild along with my thoughts. 


The work I’m creating questions a linear account of self in time. I transform my studio into a living diary. In this space I am creating a confrontational yet humorous, laissez-faire voice that controls the significance of meaning through relatable sentiments; often hand drawn images and text exaggerating approval, desire or anxiety. I enjoy using manipulations of humor and desire as a compelling facets of human connection. I catalogue my creative process through drawing, painting, photography and multimedia formats to create ongoing installations.

I view my practice as a reflection of responsibility through inheritance. I often ask myself if I carry the same gravitas as my ancestors? Or if I even should care to? On one side of my family, I am the great granddaughter of Edward G. Bremer, the infamously kidnapped banker and heir to Schmidt Brewery fortune. On the other side, I am the granddaughter of two immigrants; my grandfather being Norwegian and grandmother Egyptian. I use materials that were given to me by these relatives or handed-down. These objects carry a certain weight in meaning that I aim to uphold creatively. Maybe I collect their keepsakes, hand-me-downs, and mementos in hopes that one day they will help me better understand myself. How do I adapt to, or rather, shape their history? As a point of relativity I use my personal archive paired with various forms of multimedia to express the arbitrary history of events that have led me and my artwork to exist today.