Lives / works between Brooklyn and Mae Wang, Thailand

My work uses subversive, color-saturated objects and maximalist installations to critique State-sanctioned violence in the United States. Whether through tufted rugs, wallpaper, flocked architectural models, collage, or artist books, I appropriate the language of commercial design to smuggle in politically charged content. By shifting viewers between aesthetic pleasure and ethical discomfort, I invite them to confront—and recognize their complicity in—the systems I interrogate.

Grounded in extensive research, my practice uncovers erased or deliberately obscured histories. A central influence is Judith Butler’s concept of “grievability” from Frames of War, which asks whose lives are rendered unworthy of mourning within dominant power structures. I am particularly interested in how ideology and consumerism numb certain communities to forms of violence that others experience acutely.

Running parallel to my studio work is ¡AGITPOP! Press, a collaborative bookmaking project with writer Cara Marsh Sheffler. Our satirical publications mimic mid-century formats—Sears catalogs, recipe books, World’s Fair guides, home-improvement magazines—to explore the violences of American empire through humor, camp aesthetics, and deceptively familiar design.

Although my work focuses on the U.S., its origins lie in Thailand. In 2011 I co-founded Daughters Rising, an anti-trafficking NGO supporting refugees on the Thai/Myanmar border. Working closely with stateless and marginalized communities revealed that the structures of power sustaining inequality in Thailand mirror those in the United States. As a result, my art practice has become a parallel site of activism—one that confronts domestic systems of oppression with the same urgency I bring to my NGO work abroad.