I focus primarily on identity, the power inherent in belonging and rejection, and how those effects ripple out across families, communities, and the planet. As a Filipina-American, I combine my own experiences with materials indigenous to the Philippines, exploring how patriarchy, misogyny, consumerism, and colonialism cut deeply into the flesh of the earth. The meticulous hand-sewing and other processes I use give viewers the space to meditate on the malignancy of particular power structures like patriarchy and colonialism, destroying our individual ability to be authentic and to identify the gaping lack of connection with our roots and the Earth. I'm reaching back to my indigenous ancestors through my artwork to revive and strengthen that bond. I incorporate capiz shells into my artwork and quilts for two particular reasons: First, capiz, also known as windowpane oysters, appear fragile and easy to see through, but on closer inspection, they’re much like people: you cannot see what is inside them until you are up close, and they are much more durable than appearances suggest. Second, as a Filipina-American who grew up with no knowledge of other Filipino-American artists, I feel that lack of representation deeply. I find myself trying to answer the same questions as Filipino-American artist Carlos Villa did decades ago. I want to understand how our work, and the work of other Filipino-American artists fit into American art history, and I want our work to matter. As author Octavia E. Butler said, “You've got to write yourself in.”