Both the material and conceptual groundwork of my current art practice is rooted in the labour I engage in as a lobster fisher. The physicality of the work forces me to focus on my embodiment, and the repetitive nature of the labour becomes grounds for meditation and reflection. 

The lobster fishery is rich with tradition and superstition, and my involvement with lobster fishing is not without contention. I often think about my place in the industry, the continuation of familial legacy, and reconciling tradition with new, more compassionate ways of engaging in the fishery.  One of the driving forces that led me to begin fishing was my late grandfather’s belief that women were bad luck aboard boats, a notion that I often challenge in my work.

I often rely upon repurposed fishing materials such as old rope and recycled trap lumber in my practice. I combine these materials with photography to create sculptures and installations.

My practice is ultimately a reclamation of space and an assertion of my presence in a tradition that was not initially mine for the taking. It is the marrying of both the physical and emotional labour involved in fishing lobster.