My sculptural installations function as alternative archival systems. They generate records through material accumulation, embodied labor, and ecological context rather than through institutional preservation. The work positions the landscape as an active archival medium where histories of migration, labor, and environmental transformation converge.

Collectively, the artworks and stories are rooted in experiences of immigration and migration, labor, identity, history, and generational storytelling about home, belonging, and encounters with others. Themes of geography, government, domestic labor, and agricultural practices are also a part of this dialogue

The influences and experiences of family members who worked on Texas land as migrant farmers and longshoremen along the Gulf Coast are the abstract narratives that inform my material choices. I highlight labor as both a subject and a method. I use conventional domestic materials such as thread, needles, and scissors, as well as commercial materials used in farming, such as polypropylene sacking, burlap, and twist ties, to create materially complex artworks. I draw, paint, sew, weave, and embroider textiles into the strands of expansive personal and cultural narratives. My Mexican-American experiences, intergenerational conversations, familial bonds, home, poetry, and motherhood deepen this expression.

Drey holds an MFA from the School of the Art Institute of Chicago and a BA (Honors) from the University of St. Thomas. In 2019, Laura received support from The Warhol Foundation's Idea Fund for her research project Unsettled Space—By Way of the Crop. She has exhibited at Artpace (Texas, 2025), the Redbud Art Center (Texas, 2024), the Anya and Andrew Shiva Gallery (New York, 2024), Asia Society Texas (Texas, 2021), and MECA (Texas, 2019).