My creative practice centers on disrupting the norms and conventions of digital production by exploring the intersections of technology and embodiment. I delve into the materiality of clay and its relationship with machinic code by combining digital media techniques with the more ancient skill of hand-working clay. By utilizing custom generative software tools and unorthodox 3D printing techniques, I embrace the glitches and idiosyncrasies that interrupt the numeric logic of the machine, returning it to the realm of the living, breathing, and transitory body.

This process enables me to challenge the utopian language that surrounds emergent technologies, highlighting the often-ignored physicality of digital production and its connection to materiality and embodiment. My practice explores the possibilities of using the digital processes of material fabrication—such as 3D printing with clay—to convey an unsettled history, eliciting a sense of poetic speculation and queer futurity.

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The Cartesian grid, which underlies digital modeling and fabrication technologies, is often viewed as a neutral and objective structure. In contrast, clay and its attendant glitches represent a space of radical potentiality where the unexpected can occur, and new futures can be imagined. By challenging the logic of the Cartesian grid, I seek to generate alternative modes of perception and challenge dominant narratives of progress and perfection in favor of messiness, chance, and the unplanned. By embracing the surprises and errors that emerge from these technological processes, my work is a site of experimentation and subversion.