My paintings and ceramic sculptures are rooted in historical contexts, personal encounters, and cultural memory, capturing the layered realities of challenge, identity and belonging. Through a semi-autobiographical approach, I explore the complex intersections of race, gender, class and location, to reflect the nuances of diasporic experience and selfhood. 

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Chinese-American artist Hung Liu saw history as an evolving process, “History to me is not a noun. It is a verb. History is constantly changing… You can rewrite history.” (Gross, 2012). Also, British-Iranian artist Partou Zia saw autobiography through self-portraiture as a means of rewriting histories. Embracing these perspectives, I depict myself ambiguously—partially obscured and deliberately anonymous— evoking feelings of hypervigilance and vulnerability shaped by my experiences as a minority woman in public spaces. This method allows me to  integrate past, present and unattainable future into a broader narrative of diasporic identity. 

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Alongside my paintings, my “Fortune Cookies” series incorporate ceramics and smaller paintings that reference cultural hybridity and misidentification, to challenge reductive and stereotypical narratives. This exploration highlights the ambiguity nature of fortune cookies, as an analogy of fixed identity and cultural assumptions. 

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Ultimately, my artistic practice seeks to amplify visibility, encourage critical dialogues, and articulate the intricate dynamics of agency, belonging, and individuality within diasporic experiences.