This body of work began during my final two undergraduate semesters at UC Berkeley, where I was a double major in Art Practice and French. A stack of photocopied images of my mother, imagery I wasn't sure what to do with, landed in my hands shortly before I encountered Brigitte Rouan's film Outremer, about three sisters in post-colonial French Algeria. Researching the film, I found phrases that became titles for the nearly twenty paintings that followed: "beyond the mother," "geographical displacement," "objects of childhood desire." Juxtaposing this found text with intensely personal imagery and surface abstraction, I began exploring the mother-daughter relationship and the cycles of loss, memory, and desire that would become central to my practice.