Ever since I was young, due to constant displacement and an environmental isolation, I have disassociated. In situations of cope, I have found myself split, with a gaze looking at me from the outside, and I looking at it from my physical body. This occurrence has always been normal. Sometimes even helpful in my creative endeavors (my disassociated self as a camera in the corner or an attendee in an audience while I am on a stage). This series focuses on a mental health ailment that works both on willand on trigger, and explores it as a console as well as a conflict.


The 8x10 represents a blank page. The paintings begin with verses and writing on a blank canvas. It is then covered with scraps of paper of my notes/sketches of my research on disassociation as a disorder and way of being. Then they are painted on. The paper, at the end, is removed, revealing the negative spaces that represent the face. These portraits balance, therefore, between a poem and an image, manifested or triggered. The thread is always in three-s. The straight lines of the thread represents a tercet of a poem. In prosody, a tercet allows for imbalance which asks for continuation. An ‘odd’ number, it remains asking for completion, in either a forward or backwards. In conjoin or destroy.


With a focus on poetry as context, I use multidisciplinary techniques to create narratives that dwell on the thematic aspects of hybrid identities, political and physical displacement, and mental health. The mediums of video, photo, and paint allow not only accessibility for consumption but also possibilities of creating immersive world building constraints. My work fetch, in its technique, through an array of interdisciplinary processes such as analogue photography, archival video footage, mixed media, textiles, and textual design. With the agency to connect the personal with the political, the word to its image, the present with the past to give dialogue to an emotive-ridden future, my art honors the bridge between the word and image.