In my art practice, I document women’s work by referencing or creating space it is asked not to consume. Paper-cut portraits of women are integrated with – and their bodies are colonized by – domestic motifs and patterns that mark invisible labor women are expected to perform but not acknowledge. In more recent work, paper-cut maps suggest weight and permanence in the (largely masculine) tradition of exploring and conquering territory, but the organic, womb-like basins formed in the work – as well as the intuitive process in which they are made – subvert standard mapping conventions with delicacy and an intentional lightness. A gold-and-white palette is reminiscent of my grandmother’s china as well as the crisp, white slacks and bright jewelry she always wore while serving dinner. My work intentionally takes up space and gets in the way.