The Pleasure Boat
2025
steel, clay, latex, hay baling twine, aluminum, chalk, black beans, resin bonded sand, pewter, joint compound, napkins, milk paint, streamers, bamboo, epoxy, wartime pennies, magazine, wax
Exhibited in Blackberry, at Neue Velt
Heaven
Installation view of Blackberry with The Pleasure Boat and The Witness2025
photo backdrop paper, cyanotype, coffee, chalkboard paint, chalk
Exhibited in Blackberry, at Neue Velt
Orchid2023
canvas, steel
Pipeline
Screened on the edifice of the Seaholm Power, a former power station
hosted by The Trail Conservance and Design Austin2025
cutout stopmotion animation
02:03
Gulf Blind
2025
steel, oil paint
Exhibited at Mass Gallery’s exhibition, Porous Matters, curated by Ani Bradberry
Four Floods and Drawing for a City Public
2021
cedar, cast aluminum, came glasswork, wild foraged ceramic, rainwater, shadow
A faceted glass monocle attached to cast aluminum hoop sits hangs off the top of a 13-foot cedar pole in the middle of a public sculpture park in Dallas, Texas. Four handbuilt ceramic vessels whose form is something between an “X” and a flower have been embedded into the ground, serving as repositories for rainwater. Small ecologies of insects and worms are attracted to the vessels. As the vessels drain over time, they slowly water the grass around them.
The X form mimics the X’s that pedestrians and tourists risk their lives to spray paint on the road where JFK was shot before smiling for photo-ops in the middle of the road. Because the sun, the rain, and the rubber friction of tires wears away at the makeshift memorial, there are actually multiple X’s at any given time, fresh ones painted over fading ones, as if the site of the murder is ever-shifting depending on the public’s whims.
This work is an amalgamation and distillation of these kinds of patterns--the form, materiality, and spatial dynamics at plat within the architectures of civic tourism in Dallas, Texas. The glass monocle is a shallow, two-dimensional rendition of the Reunion Tower’s transluscent “Geo Dome” , where tourists are invited to have a cocktail at the rotating bar overlooking the Trinity Floodplain--a site where
The ceramic vessels which fill with rainwater are inspired by the Trinity Floodplain, which is a proven flood risk for the surrounding neighborhoods while also being a beacon of local biodiversity and tourism. The “X” forms references the act of geographical location, while also referencing the Made while attending Sweet Pass Sculpture School--a residency program focused on Blackland Prairie ecology
B.o.o.k.2023
8’ x 8’ x 2’
used tent, used tarp, ceramic, texture pamphlet, texture calendar, cyanotype fluid, knots, grommets, hardware, coyote bite, stones, rope
Houston2024
18” x 24” 6”
saggar-fired handmade ceramic, custom steel hardware
a composite image of nine stills taken from the video piece
Postcard
video
2025
39:07link
Postcard is a long video. It was made by filming a freestanding flat object I constructed with a 4:3 opening in the middle. A continuous video of the sunset at White Sands National Monument, New Mexico, was projected onto the surface of the object. In daylight, the video is invisible, and the object functions as a frame or viewfinder for the videocamera. As the sun sets, the central subject darkens into obscurity, and the landscape projected onto the object becomes visible. Effectively, the visible subject shifts from what is being framed to the frame itself.
behind the scenes, a photograph taken with the camera I filmed with
Dark Room2025
darkroom photogram sculptures
The images in Dark Room are made using a standard photo enlarger light in a darkroom. I shine the enlarger’s light directly onto a mylar balloon, which immediately reflects the light beam in many unpredictable directions, essentially “polluting” the darkroom’s darkness with light. With my arm outstretched, I hold a sheet of photosensitive paper out, trying to catch the light beams where I suspect they may shine. I think of this as a way of visualizing the abstraction that is pollution through an interdisciplinary combination of photography and performance.
The Right The Side is On2021
installation for a car with sculptures, sound, and light
exhibited For TedXUT
This installation includes sculptures, sound, light, and the viewer’s car. The central component of this installation is a set of ceramic chimes hanging from the ceiling of the parking garage. As wind sweeps in from the windows, the chimes’ resonant sound is echoed throughout the space via microphone. Additionally, these chimes have been coated with a layer of cyanotype solution I developed, resulting in a surface that is colored variably over time by the light and shadow of the parking lot.
This installation is born out of the phenomenon of popping my rear left tire and getting a root canal on my back left tooth in the same week. Driving a car daily, I feel the the sympathetic expansion of my body and the ways in which the car becomes a kind of adaptor or prosthetic that I move throughout the world with. The components of this installation fit into but also stand out from the parking garage, encouraging a new sensorial attentiveness in a transient space we tend to overlook.
Table2025
Birch, milk paint, indigo, aluminum