Artist Statement

This body of work interrogates the ideological and structural disparities between punitive and rehabilitative prison systems through the medium of photomontage. Drawing from the metaphorical language of Maya Angelou’s Caged Bird and the conceptual strategies of artists such as Martha Rosler, Hank Willis Thomas, Jenny Polak, and Omid Mokri, I explore incarceration as both a lived experience and a broader social construct.

Bird imagery operates as a central visual and symbolic device. Different species represent incarcerated individuals, their potential for transformation, and the systemic forces that constrain them. From the mythological Phoenix to common Finches, each bird is selected for its metaphorical resonance: resilience, fragility, rebirth, entrapment, and more. Their placement within fragmented, often institutional environments draws attention to the psychological dislocation and systemic violence perpetuated by carceral spaces.

My engagement with this subject matter is also shaped by personal experience. As a teenager, I was the victim of a random violent crime. At the time of the trial, I wanted the perpetrator to be imprisoned for as long as possible, and he was sentenced to 25 years. Years later, I learned that he had endured repeated assaults and accumulated behavioral infractions while incarcerated. As his release approached, I found myself fearing not only for myself but for others. I began to question what justice truly looks like. If incarceration does not include rehabilitation, how can we expect transformation? I realized that justice is not achieved simply through punishment, but through the potential for change, so that what happened to me is not repeated for someone else.

The work juxtaposes the U.S. model of mass incarceration, characterized by privatization, racial disparities, and high recidivism rates, with the more humane, rehabilitative practices seen in Norway. Photomontages such as Recidivism (USA) and Recidivism (Norway) examine these differences not only through statistical references but also through compositional structure, color theory, and visual metaphor. By contrasting closed versus open spaces, predatory versus nurturing imagery, and fragmentation versus cohesion, I emphasize the ethical implications of divergent correctional philosophies.

I use found imagery, both historical and contemporary, to explore themes of social justice and institutional power. By layering photographs, symbols, and natural elements, I aim to challenge the dominant stories we tell about crime, punishment, and reform. Using Photoshop, I carefully alter and compose each image to bring specific ideas to life, encouraging viewers to look more closely at the realities and consequences of our country’s criminal justice system.

Ultimately, this project is concerned with visibility—of the incarcerated, of alternative models of justice, and of the ideological frameworks that shape our collective understanding of criminality. Through this work, I hope to contribute to an urgent reimagining of justice as something that centers healing and transformation—not only for victims, but for those who have caused harm.