My work reflects my own views toward a personal multiplicity of women hoods: embracing, rejecting, and satirizing preconceived notions of femininity. This is done with an emphasis on fine craftsmanship as well as the use of masculine materials and modes of making based on the sculpture of the early avant-garde—rejecting their narrow view on female capability and false guise of evolved thinking. In this sense, labor and skill are a means by which to emasculate patriarchal notions of competency and excellence. This comes together in an autobiographical body of works through a lens which is fixated on humor. Topics such as religion, desire, home, language, labor, identity, and the art historical are treated with the kind of care that occurs at the intersection of the cavalier and the tender—and the points in between. My fascination with the absurd manifests itself in a form of faux surrealism—I must lament that I cannot truly claim the title because I come up with my ideas while I’m awake. The crux of the work is radical vulnerability bred through compulsive honesty. Using a combination of moldmaking and casting, metalworking, woodworking, writing, and various fibers techniques, I create sculptural self portraiture in the form of anthropomorphized objects and narrative structures.