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

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
2025
video
39:07
4” x 6”link

To make this video work, I projected a continuous video of the sunset at White Sands National Monument, New Mexico, onto the surface of a freestanding stretched canvas with a beveled interior aperture with a 4:3 aspect ratio and set up a camera to film it. During the day, the video is invisible in sunlight, and the canvas frame functions as an aperature for a view of a popular birding destination in town. As day turns to night, the view darkens, and the New Mexican sunset projected onto the canvas gradually 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 series

Dark Room uses a standard photo enlarger light in a darkroom. However, 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 varied surface that is colored variably by the light and shadow of the parking lot.

This installation is borh 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.

Table2025
Birch, milk paint, indigo, aluminum