Where it Hurts To Hold: The Weight of Self Compassion 2025 A resin torso, bronzed in finish, clutches its own breast—part protection, part grief—as flowers bloom from one side while the other remains stark and shadowed. By contrasting darkness with blooming detail, the piece honours complexity: the coexistence of beauty and burden, tenderness and survival. The gesture of self-touch is both physical and emotional, inviting reflection on embodiment, vulnerability, and mental struggle. Where It Hurts to Hold is a meditation on the weight of self-compassion—on the private, difficult act of holding oneself through pain, and the quiet strength it takes to grow anyway.

Reclaimed Space 2024 A quiet body, stripped of adornment, invites presence. Reclaimed Space is a study in simplicity and strength — a form that no longer performs, just exists. In naming what was once unseen, it becomes its own monument. A body, enough.

Mirrored Muse (Shiny Disco Boobs) 2024 A tribute to boldness, brilliance, and bodies that light up the room. Mirrored Muse reimagines the torso as a disco ball — glittering, unapologetic, and reflective in every sense of the word. She doesn’t disappear under the lights; she becomes them. Made of mirrored tiles and cast in celebration, this piece turns every curve into a dance floor and every imperfection into a shimmer. It’s joy you can see from across the room. It’s glamour with grit. It’s softness with sparkle. Because sometimes healing means letting your body take up space — and spin. Come for the sparkle. Stay for the LIBERATION

Treat 'Yo Self (Two Scoops) *Finalist - Art Comp 2025 Swirls of playful colour and whimsical toppings transform this cast into a sweet celebration of our bodies, capturing the carefree spirit of childhood delight. Across its vibrant curves, rainbow sprinkles and candy details glisten like confetti, reminding us that self-love can be both joyful and indulgent. By stacking whipped cream at the top and a cherry perched above, the piece evokes the decadent fun of an ice cream sundae. Freed from inhibitions, it invites viewers to reimagine their own physicality with a sense of lighthearted curiosity. In a world that often shames or criticizes bodies, this work encourages us to see ourselves as worthy of delight and wonder—just like our favorite sweet treats. Sparkling with colour, flavour, and playful humour, it reminds us that our bodies can be a source of both pleasure and pride. With every glance, it beckons us to sprinkle some fun on how we see ourselves.

In The Shadow Of Herself 2024 In the Shadow of Herself explores the tension between visibility and self-erasure. Cast in deep matte black, the body becomes both presence and absence — a form stripped of external noise, asking to be seen beyond adornment or expectation. The title suggests a dissonance many feel: existing in the world while feeling removed from the self. This piece holds that feeling gently, without trying to fix it. The neck fades into nothing, the limbs disappear — and yet the torso stands. It remains. This sculpture doesn’t beg for attention, but neither does it shrink. It is not decoration. It is declaration. A quiet monument to those who’ve lost touch with themselves, who’ve dimmed their own light to fit, to please, to survive — and who are beginning, perhaps, to return.

Redefining Love 2025 Part of the All About Love series This piece stands as a reclamation of the word “love”—not as romance or possession, but as a radical, internal act of truth-telling and care. Sculpted with a visceral surface and streaked with gold, the form shows the labour of healing: textured, imperfect, and holy. Inspired by bell hooks’ invitation to redefine love as an active choice rooted in justice, this cast honours the process of turning inward and embracing the parts of ourselves we’ve been taught to hide. The gilded fissures do not conceal damage but elevate it, making visible the strength required to move through heartbreak, grief, or shame and still choose softness. This is a body that has known the world’s gaze and now demands to be seen on its own terms. In love, we are reborn—not unscathed, but radiant.

Core & Contour (View 1) 2025 Contour & Core explores the intimate architecture of the breast through a sculptural cross-section and beaded mapping of its internal anatomy. One side is clean and dark, a silhouette of external perception; the other, intricate and anatomical, reveals the unseen—lobules, ducts, and connective tissue. Juxtaposing softness with structure, concealment with exposure, the work invites a reconsideration of the breast beyond objectification. The beadwork transforms biological function into ornament, honouring the complexity beneath the surface. Blurring clinical clarity with emotional resonance, this piece resists simplification and asks viewers to witness the breast as a site of tension, tenderness, and layered meaning.

Core & Contour (Image 2) 2025 Collaboration with Jennifer Plourde- Jennifer Plourde is a self taught bead artist, a registered massage therapist and a storyteller based in London, Ontario. She is a member of Matachewan First Nation (Ojibwe) and a descendant of French settlers. An emerging artist, she has been playing with fabric and string since childhood. In 2019, she began teaching herself to bead after inheriting her grandmother’s beading supplies. Her works have been featured in several group exhibitions. In 2024, she was awarded an Indigenous Art Project grant from the Ontario Arts Council to create a series of anatomical beaded pieces exploring the question “when I tell the story of my body, where do I start?” Through non-traditional beading styles, Jennifer explores the relationship between the physical anatomy of the body with the stories we tell about our bodies, ourselves and our communities.

Take a Deep Breath 2024 Take A Deep Breath invites stillness. Its soft, periwinkle surface draws attention to texture — to folds, subtle curves, and delicate stretch marks that appear more like inscriptions than imperfections. The figure is unposed, unguarded. It simply is — steady, grounded, and real. This piece resists spectacle. There are no embellishments, no distractions — only presence. The absence of limbs and a head narrows focus to the torso, the seat of breath and instinct. It becomes a meditation on being: being seen, being whole, being enough. There is no performance here, only reverence. Take A Deep Breath becomes a soft monument to time, experience, and quiet endurance. It offers a pause — not just for the viewer, but perhaps for the body itself. Sometimes, healing begins not in transformation, but in stillness. In breath. In returning to the body, and finding that it is already home.

Nurturance : A vision of motherhood 2024 A vessel of care, this sculpture honours the weight and softness of motherhood — not as perfection, but as persistence. Cast from the body who gives endlessly to others, Nurturance is rooted in the complexity of birth, healing, and unseen labour. It holds space for both strength and surrender. With every curve, it whispers a quiet hope: that she might someday receive the same tenderness she offers so freely. That the body that gave life, held pain, and kept showing up, might be met with gentleness — especially from herself.

First Form 2023 This was one of my first casts — and one of my hardest to learn from. A larger bust and a smaller ribcage make for a physically complex form, both in sculpture and in lived experience. The shape itself speaks of tension and strength, of holding and being held, often without the support it deserves — in casting, in bras, in society. What stands out most are the nipples: pronounced, defined, and completely unapologetic. In a culture that reacts to visible nipples with shame or censorship, this piece refuses to flatten or smooth itself out. It doesn’t ask permission to be real. First Form is a tribute to the beautiful difficulty of unidealized bodies — to the anatomy that defies clothing standards and societal discomfort alike. It’s not softened or abstracted. It’s here, present, and proud. And through it, I learned not just technique — but reverence.

My Queer Prom (Glitter Tits) 2025/2024 Originally imagined as Glitter Tits, this piece evolved into My Queer Prom — a standing tribute to visibility, glamour, and unapologetic self-expression. Draped in a floor-length skirt and coated in radiant fuchsia sparkle, the form reclaims a space too often denied to aging, queer, and feminine bodies. The model, in her 60s, didn’t just sit for this piece — she stood. Proudly. This work reimagines the prom dress not as a rite of passage for youth, but as a costume of becoming — for anyone, at any age, who never had the chance to show up fully as themselves. In a world that so often renders older bodies invisible, My Queer Prom shines defiantly. It is a celebration, a correction, and a reclaiming. Because it’s never too late to sparkle. And taking up space — especially when told not to — is the most radiant kind of resistance.

Laced With Judgement 2024 Lace is often sold as softness. Femininity. Romance. But depending on the body it touches, its meaning shifts — from elegance to excess, from fashion to provocation. On thin bodies, lace is beauty. On fuller figures, it’s often framed as “too much.” Laced With Judgment confronts that double standard. Cast in metallic magenta and sculpted with rich texture, the form is both delicate and defiant. It refuses to apologize for curve, for boldness, for taking up space in something society might call “too sexy.” This piece asks: why must softness come with shame? Why does visibility still require justification? Here, lace isn’t a suggestion — it’s a statement. A second skin that won’t be edited down for comfort. This is a body dressed not for the male gaze, but for its own power. And it’s not asking for permission.

A Hand That Holds (2025) Used as a base for collaborator Jennifer Plourde's anatomical beaded heart.

No More Stolen Sisters (2024) An intimate gift for a friend and advocate (Vanessa Brossaeau - aka "@resilientinuk) Red Dress Day, observed annually on May 5th, is a National Day of Awareness for Missing and Murdered Indigenous Women, Girls, and Two-Spirit People (MMIWG2S) in Canada. It was inspired by Métis artist Jaime Black’s REDress Project, which involved hanging red dresses in public spaces to represent the missing and murdered Indigenous women. The red dresses have become a powerful symbol of the crisis and a way to raise awareness about the issue. Write to your elected officials demanding full implementation of the 231 Calls for Justice. Miigwetch to @resilientinuk for her teachings, care & sharing so authentically with the world as she continues to search for more information on her stolen sister, Pam.

Calla (2023) *on display at The Chest Collective in Somerville - Boston, MA This golden torso was created in collaboration with Skye Smith, inspired by her multidisciplinary work Calla—a powerful exploration of body image, trauma, and healing. Cast in radiant gold, the sculpture embodies both fragility and strength, serving as a tangible reflection of Skye’s journey through personal struggles and artistic renewal. The raw, torn edges of the piece mirror the emotional terrain navigated in Calla, where wholeness is found not in perfection but in presence. In dialogue with Skye’s performance and literary work, this sculpture stands as a sacred relic: a symbol of feminine resilience, creative continuation, and the beauty that remains amidst adversity. Together, we hope this piece invites viewers to witness the profound interplay between vulnerability and empowerment, and to find solace in the shared human experience of transformation.

My Constellation 2025 A galaxy of nipples surrounds a golden torso, charting a body-based cosmos — personal, playful, and reverent. My Constellation explores the ways we map meaning onto the body: how identity, intimacy, shame, and pride leave their marks like stars in a sky we’ve always carried. Each nipple, cast from a different person, represents both individuality and kinship — a reminder that we are not alone in our softness, our scars, or our stories. The golden chest at center is a beacon: a gravitational core, a sun, a mirror. This is a constellation of bodies. Of courage. Of becoming.

Kintsugi Superhero 2023 *Show piece at the One of A Kind winter show November 2023 This piece honours a woman who has survived cancer four times — the very definition of strength and grace. Once ashamed of her scars, she now sees them as symbols of resilience. Kintsugi Superhero is for her, and for all who’ve encountered breast cancer, in the hope that they might see the majesty, softness, and power of their own bodies. Superheroes have capes to help them fly — and glowing hearts that turn scars into gold. Inspired by the Japanese art of kintsugi, which repairs broken pottery with gold, this work embraces our cracks and ruptures, not to hide them, but to illuminate them. It’s a tribute to survivors — to the bodies, minds, and hearts navigating life with trauma, tenderness, and unstoppable grace. Through this piece, I offer reverence for the evergreen nature of healing — our ability to endure, evolve, and carry beauty through every chapter.

Nipples 2023

When do rolls become less cute? 2024 Created in collaboration with Teri Hofford — photographer, author, and body image educator — this piece challenges the invisible line between what we’re taught is “adorable” and what becomes “unacceptable.” Cast in a soft periwinkle and detailed with silver botanicals, it honours the roll, the fold, the softness — not as flaw, but as form. Teri writes, “Your body is not the before. It is not the after. It is the during — the now — and it is worthy of love and respect exactly as it is.” This sculpture asks: when do we start turning on ourselves? And what if we simply didn’t? What if every roll remained worthy, not in spite of, but because of what it holds — history, life, and unapologetic presence. With every curve, When Do Rolls Become Less Cute? dares us to look again — and this time, to love harder.

Untitled, 2024 With its metallic rose-gold skin and oxidized teal accents, this cast blurs the line between body and artifact. It feels ancient and contemporary at once — a torso made timeless through patina, pigment, and presence. The rough edges nod to rupture, but the form remains luminous, intact. Light pools across curves and collarbones like memory. Untitled (2024) becomes a relic of the self — not in decay, but in durability. It’s a reminder that beauty is not pristine. It endures, glows, and gathers complexity over time. In this work, the body is both vessel and sculpture. No longer a subject of scrutiny, but of reverence.

Before Letting Go: Just Part Of The Journey 2025 This sculpture was cast just before the artist’s subject underwent a long-awaited breast reduction — a tender record of what once was. Shaped by body dysmorphia, shame, and years of scrutiny within the dance world, this body held both weight and judgment it never asked for. Before the Letting Go is the first in a two-part series. A second cast will follow after healing — not as a “fix,” but as a continuum. A conversation. A reclaiming. This piece speaks not only to her pain, but to mine — and to the countless dancers (and women) taught to shrink, to suffer, to stay small.

Tears of Palestinian Mothers 2025 This sculpture merges body and fruit—flesh and fragility—into a potent symbol of grief and resilience. Rendered in the vivid palette of a watermelon, a fruit deeply associated with Palestinian resistance, the cast evokes both the sweetness of life and the violence of its rupture. The “bite” taken out of the form speaks to what has been lost: children, land, safety, autonomy. The glossy red surface glistens like tears, seeded with the small black wounds of generational sorrow. This piece is a visual elegy for Palestinian mothers—for their pain, their strength, and their impossible endurance. It asks viewers not to look away, but to see, feel, and witness. In shaping breast and fruit together, the sculpture blurs nourishment with mourning, sustenance with struggle, offering a visceral reminder that motherhood is often a site of both love and unimaginable sacrifice. #freepalestine

Love Is Love Is Love (It's A Riot) 2024 At first glance, this piece may dazzle with its vivid palette—fiery reds, electric greens, and streaks of urgency across the chest. But beneath the beauty lies fury, friction, and fire. This is not a rainbow-washed celebration. It’s an indictment of performative allyship and a reminder that Pride began as a protest. The title confronts the popular slogan “Love is Love,” calling out its oversimplification. For many, queerness isn’t safe, accepted, or adored—it’s still political, still dangerous, still radical. This cast demands more than visibility; it demands accountability. Each explosive stroke reflects the complexity of queer identity: joy, pain, resistance, survival. It’s a riot in both the literal and metaphorical sense—messy, defiant, unapologetically loud. This piece urges viewers to look past the glitter and into the flames, asking: Are you here for the party, or the protest?

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