I am most interested in marginalized bodies, how in our society, the ideal body seems to be the only one that’s truly authorized. Even for the ideal female body that authorization comes from those in power, not from the woman herself. I am struck by the idea that the body that you are born into predetermines how you will move through the world and be treated. Ta-Nehisi Coates writes, “I think the body is the ultimate thing. The soul and mind are part of the body. I don't think there is anything outside of that. Your physical self is who you are. Some people feel that that is reductionist, but I don't think it is. It's just true.” I don’t find it to be reductionist, as a sculptor, but, in fact, I find liberation in looking closely at the body and creating art from that form. At the impressionable age of twelve, my mother was pregnant with her fourth child and my great grandmother was dying. It sparked in me a fascination with the body and its different functions. It was fascinating to watch two powerful women – my mother who was the sole breadwinner of our family and my great grandmother who had been raised in a house of prostitution during the Great Depression – in such vulnerable positions due to their bodies. It made me separate the body from the individual. As a sculptor, I am fascinated by form and the lines and shapes that come from a body being lived in over time. I am also interested in how society views the female body over the span of a woman's lifetime from childhood to fertility to infertility. Truncation is a theme that I play with in my work because of its power. The artistic history of truncation reveals how women's bodies are portrayed and discussed in parts and pieces. As a sculptor, one can edit the body to shape what is integral to the narrative. I seek to challenge the patriarchal gaze and the misogynistic assumptions that run through our culture, the art we make, and the perception and discussion of that art.