Being an artist inhabiting a feminized body implies residing within a space of political, social, or economic marginality. Feminized differs from female and is not restricted to 'women.' Here I remain dedicated to “feminized,” as a category, being ever shifting and malleable. My practice operates across intersections, those fractured and those mended, of feminism. My work is bodily—its format often body-sized, wall-sized, portrait-oriented, or vertically-inclined. The palette I engage with is prompted by bodily and natural fluids—liquid, leaky, and continuously wet. I aim at de-telling by way of drip, sap, mar, bleed, drain, smudge, and obscure. De-telling emphasizes a confrontation with an original [cis male] narrative. Acting as a concurrent response, de-telling first dredges a narrative, only to delink from it, to then accumulate anew. With a commitment to conceptual and material transgression, my process acts as an echo narrative searching for legibility. A task is repeated, patterned, and laborious. In making, I favor color and matter over line and form. Color being sensorial and matter being evocative—both imagined “feminine” by scholars in favor of the 'masculine' and 'controlled' line and form. This engaged making is rooted by enriching my practice with text, word, poetics, prose, and language. Textual work addresses unmarked and marked terms related to feminisms—“unmarked” defining a position of power and privilege while “marked” designates the objectified in all 'othering' relationships—between misogynist and feminist, straight and queer, cisgender and transgender, man and woman. My making considers reproductive rights, body autonomy, and gender-based aggression and violence. My work often explores environmental issues, womxn’s rights, and the intersections between. My practice investigates interiority, both bodily and spatial, as it relates to surface, access, and space-making.