My work cycles the intimate and nostalgic memories I have of my past, and present, making my craft both confessional and autobiographical. A large volume of my work has been initiated by my fascination with biology and animal flesh, and insinuates that nature is the highest form of divinity. It often points to the contrasting power of death and eternity. Through revisiting experiences and memories, which are simultaneously dead and alive, my art practice has helped me understand how my heritage has shaped me, and, in turn, has helped me understand how the world shapes every individual around me in terms of socio-economical, cultural, spiritual and linguistic perspectives. In truth, my art practice relies on me as much as I rely on it when looking and defining the world around me.