Dream City. Hot Deals. An exploration of the used car lot as a revelatory site, a place where the iconic promise of American Dream Capitalism starts to fray at the edges and reveal a precarious and predatory operation.
Screenprint on paper, 8”x12”
Guns and gold. We are all pawns in late-stage capitalism.
A self-portrait, created while I was pregnant with my child. Composed of three photographic images, screen-printed onto frayed vintage bedsheet. I made this piece in response to the shift in others’ perception of my identity while I was pregnant and in the early days of new motherhood. It seemed that I, a human being in the world with my own interests and agency, was being disappeared into the monolithic stereotype of “Mother”. This progression of the silhouette images in this piece mirrors this disorienting experience, with the belly becoming increasingly prominent, while the face disappears into the floral textile background.
Screenprint on textile, 48”x60”
I began the traveling tintype project in 2011, with a DIY conversion of a vintage travel trailer into a mobile wet-plate collodion tintype darkroom. With this darkroom in tow, I travelled around the Pacific Northwest, making tintypes of the compelling people, places and things I encountered and sharing this unique photo process with communities along the way through demonstrations and workshops. Tintypes are handmade photographic images exposed directly onto aluminum plates using large-format 4x5 and 8x10 cameras. Images are made using one of the earliest photographic processes, wet-plate collodion, which dates back to the 1850s. The tintype process is both meticulous and unpredictable, with beauty revealing itself in the ‘flaws’ resulting from combustible combinations of light, heat and an unstable photographic emulsion.
This series of sculptural works combines foraged organic materials with precious metals, copper and bronze, utilizing the casting and electroform processes to combine these materials together as a way highlight and honor the beauty in what is often overlooked and unvalued.
The act of noticing, of slowing down, of really looking closely at the natural world all around us can open up paths to experience sparks of wonder within the everyday. These revelations act as a reminder that we are deeply connected to and shaped by everything around us.
This large-scale multimedia sculpture explores the psychological, emotional, and physical boundaries we construct between the realms of “nature” and “culture.” I am interested in what happens when these seemingly invisible borders are breached—when categories we understand as separate begin to overlap, collapse, or become indistinguishable.
The work draws on the phenomenon of swarm behavior as both a biological process and a metaphor for collective movement, instinct, organization, and transformation. Swarming exists across species and systems: insects gather and migrate, birds murmurate, fish school, phytoplankton bloom, and even inanimate systems—from robots to earthquakes to stars—can exhibit forms of parallel or collective behavior.
These points of convergence between the organic and the constructed, the individual and the collective, the natural and the cultural are where I locate the work. I am particularly interested in the sensations produced when these boundaries are overwhelmed or transgressed: beauty, wonder, terror, absurdity, and the sublime.
Through the accumulation and arrangement of materials, forms, and bodies, the sculpture creates a space where distinctions between nature and culture become unstable. Swarming becomes both subject and structure—a way of thinking about how bodies gather, how systems organize themselves, and how quickly something familiar can become strange.
Copper, 4”x4”
Copper, 4”x4”
Copper, 4”x4”
Copper, 4”x4”
A large-scale multimedia sculpture, made in response to the perceived “too-much-ness” of female/femme bodies and ways of being in the world.
In mainstream puritanical western culture, bodies and bodily desires are often categorized as too unruly, too uncontrolled, too much.
Oozing and sparkling, with mouths and tongues and flowers and fingers all intertwined, this sculpture is a celebration of too-much-ness, an honoring of the refusal to be controlled, to be toned-down and made to behave.
