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
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
Houston2024
18” x 24” 6”
saggar-fired handmade ceramic, custom steel hardware
Postcard
2024
video installation (single-channel video, steel, canvas, sunset)
exhibited at the Museum of Modern Art Fort Worth, Texas.
A continuous video of the sunset at White Sands National Monument, New Mexico, is projected onto the surface of a freestanding stretched canvas with a beveled interior aperture with a 4:3 aspect ratio. During the day, the video is invisible in sunlight, and the canvas frame functions as an aperature for a view of the Fort Worth Modern. 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.
The Right The Side is On
2021
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.
Satellite (Lake Michigan) & Satellite (Darkroom)2021
performance with sculpture
Satellite is a multimedia project made in response to the real event of losing a mylar balloon to the wind with new classmates on our first day of class at Oxbow School of Art. In this performance, I set sail on Lake Michigan, floating in the direction the balloon floated away. I float on a makeshift raft comprised of the remaining mylar balloons that were not lost to the wind.
After searching for the lost balloon, I went to the darkroom to make a series of performative photograms using the mylar balloon raft. This experimental photogram method I developed involves using 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, polluting the darkroom’s darkness. With my arm outstretched, I hold a sheet of photo paper out in the space, trying to catch the light beams where I suspect they will shine based on the shape of the balloon. These images are the result of successful attempts at catching the light, but there are also many failed attempts.