Like contemporary art itself, my oeuvre resists a singular defining theme or style. A protégée of the Vancouver School of conceptual photography, my practice is primarily photo-based, though also includes a diverse range of mediums including multi-media, installation, and text-based works. I work in series, each of which functions like a visual hypothesis, collectively demonstrating the myriad layers of complex inquiry that inform my practice. Themes include existentialism, feminism, humanism, atheism, and history. From these themes spring more in-depth, post-structuralist inquires reflected visually in series such as: feminist revisionism and existentialism in How I Became a Feminist by Reading Nietzsche, self-awareness and woman’s issues in Repressions, photographic history and the development of consciousness in Origin of the Photographic Portrait, and historical revisionism in the Marie Antoinette series. My practice, like my own ideologies, spans both second-wave feminism, which focuses on raising consciousness of women’s oppression, and third-wave feminism, which embraces individualism and personal narratives, paying homage to the credo “the personal is political”. The authenticity in my work comes as a direct result of the correlation between my work and my individual identity as an artist, a woman, an atheist, a feminist, and an existentialist.