Through maximal, lush work in textiles, embroidery, and painting, Colby reframes conversations on domesticity, power, and gender through a queer lens. Colby’s practice is always physical, founded on various acts of transformation and reconstitution, whether by puncturing and altering photographs through embroidery, or subverting traditionally domestic materials and techniques in sculpture. Their forms are often drawn from Christian ceremonial objects in an effort to question their significance and propose a queer alternative. The ability for material and beauty to mask violent, patriarchal structures is at the fore of the artist’s process as they construct objects which can be digested easily or engaged critically. Desire and captivity can be seen as an entry point as well as the foundation for criticality.