“Remember the Violet Flame?” 2015. Reflective mylar, cord, ceramic, acrylic paint, metal. 120in x 48in x 36in. S1 Gallery, Portland, OR.
“Lantana Camara” 2015. Thermal-fused plastic. Dimensions variable. ASHES/ASHES, Los Angeles, CA.
“i guess i’m an underwater thing” 2016. Thermal-fused plastic. 60in x 30in.
“The Fallout & the Dawn of Clarity IV” 2015. Thermal-fused plastic. Dimensions variable. ASHES/ASHES, Los Angeles, CA.
“All Along Beyond” 2016. Thermal-fused plastic. 62in x 62in.
“Need a Man Blues too” 2016. Thermal-fused plastic, wire, acrylic paint. Dimensions variable.
“Penetrate (Weaponry Listens to Love)” 2015. Kitchen knives, glue. 72in x40in.
“The Kitchen” 2015. Photogram, metal, polyester and cotton woven floor mat, plastic flower, plastic beads, saliva. 48in x43in.
“Why Joined Us Here” 2014. Stretched velvet, synthetic hair, acrylic paint, found pin, plastic. 42in x 30in.
“I Remember Hair” 2016. Velvet, metal, plastic, synthetic fur, synthetic hair, thread, concrete, plaster, wax candles. Dimensions variable.
“IWKIMV” 2016. Plaster, latex, sand, spray paint. Dimensions variable. ASHES/ASHES, Los Angeles, CA.
“Ever a Chance in Never” 2015. Wood, vinyl, acrylic paint, printed tape, plastic, metal, gypsum. 60in x 33in. S1, Portland, OR.
“50/50 Clown” 2015. Nylon mesh bag, cord, kitchen knife, acrylic paint, printed tape, chalk pastel, found scarves. Dimensions variable. S1, Portland, OR.
“IWKIMV (detail)” 2016. Plaster, latex, sand, spray paint. Dimensions variable. ASHES/ASHES, Los Angeles, CA.
“Nautical Nuns” 2015. Found shells, spray paint. 38in x 24in. S1, Portland, OR.
In my practice, object-making bridges the gap between fantasy and reality. I enjoy duality — balancing frivolity and solemnity, desire and disinterest. Through the lens of utopic desire, I explore mythology, self-examination, loss, transformation, and humor. Materially, this is communicated through the manipulation of plastic, found objects, fabrics, paint, concrete, and plaster.
Over the past five years, I have explored working with PVC plastic sheeting as a textile. By cutting, heat-pressing, blistering, weaving, and sewing, I have discovered multiple ways to manipulate this material to form a visual lexicon.
The ephemeral nature of installation is also an important factor of my practice. Most of the objects I make are utilized as props and are either reconfigured or repurposed in relation to each other with each iteration. Concrete and plaster pours are purposefully not measured so as to create a bit of chance with how the material will cure. Sculptures lean against each other and textiles are pinned in ways that create a specific experience in a specific time and place.
An important question I consider in my practice is: how does memory participate in our individual mythologies? A rule I have for investigating this is to never create the same installation twice, allowing myself and the viewer to build our own relationships with objects over time. Like the psyche itself, these relationships an ever-changing experience.