All of these pieces, with the exception of ‘Run’, come from my series entitled ‘Note to Self’. ‘Note to Self’ is a series of 100 text-based pieces made from hand-cut and sewn letters over the course of nearly 3 years. Originally started as a “100 days” art project on September 1, 2016, it eventually evolved into something else as the timeline continued to expand far beyond what was planned, finally being completed on June 21, 2019 after 1,023 days. This work is the result of the intertwining of a 20+ year diary practice, meditation, and experiments in fibers.

‘Run’ is a precursor to the ‘Note to Self’ series. I wanted to challenge myself, someone who appreciates the control and craft of embroidery, to create something more sculptural that relinquished a sense of control. Created during a time when I felt like escaping, I created a poignant narrative using embroidered words that literally flowed off the confines of the fabric itself.

For the Pushing Pink show, these pieces all relate to my experience as a woman of color, exploring the ways in which I softly subvert my expected role in society. ‘Of Course I Am Mad’ and ‘Bills Bills Bills’ directly correspond to the harm of white supremacy in the U.S., as well as the general effects of the capitalist society we live in. Through the lens of the harm inflicted by the Pink Tax and gender and sex-based discrimination, these pieces also take on a new meaning. ‘Smart Mouth’ and ‘Very Nice Girl’ are discordant descriptions of me that I have heard from others, and boxes that womxn are constantly being placed into. ‘Sex Death Regeneration,’ ‘How You See Me’ and ‘Can’t Be Everything’ speak to the spirituality and psychological healing that is a necessity for all womxn who endure systemic harm.