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As a Costume Designer with an in-depth knowledge of costume construction and a complex identity belonging to multiple cultural communities, I have a multidimensional understanding of how costumes work practically and as a way to tell the story of the characters they complete. This allows me to accentuate subtle aspects of a character’s identity to enrich the narrative they exist within.
In museums, the wear on artifacts and their entombment behind glass removes them from everyday life. Despite this estrangement, one still feels drawn to these artifacts and even recognizes what they are and how they were used. In my practice, I employ the distance, intrigue, and relatability characteristic of artifacts to explore ideas I care about. Specifically, I curate nonexistent worlds and produce artifacts from them to investigate concepts without prejudice tied to reality. If I strike the balance between fantasy and the real world, my artifacts intrigue the way historical artifacts do, which compels the viewer to engage with each idea with an open mind. Creating these artifacts using familiar materials, such as ceramics, fabric, and paint, but mostly wood and metal, helps with relatability. In short, my art is a series of meticulously crafted portals into fantastical worlds that act as magnifying glasses to our own.
Whether the character is theatrical or animated, armored or bedazzled, as long as I feel a connection to them, I will learn all the necessary skills to bring the character to life. To date, some of these skills include pattern drafting, hand and machine sewing, studding, hat weaving, 3D modeling and printing, and wig construction. These informal projects give me an opportunity to expand my skills and expertise outside the confines of a script. The projects on display are all adaptations from theatre, film, and animated TV.