My practice involves material and processual research that asks who and what I am with, and where these things come from. I am concerned with how my work emerges in complicated relation to space, history, and other lives, and how to maintain an awareness of these relations. Materially, I work with what I am in close vicinity to in order to develop a dialogue from my current position historically, geographically, and economically. Work ranges from sculptures made with found material, to writing and poetry that begins with transcription of live or recorded voice, to photographs, sound, and video. I am conscious of my position as a maker in a context of excess, and use capitalist culture's flotsam and jetsam to create meaningful work in a radically dependent present.
NYT (two-person exhibition)
Two-person exhibition with Max Guy at Apparatus Projects in Chicago. An in-progress video work made with puppets will be exhibited, exploring notions of improvisation and collective story (re) telling, a thematic focus shared with Guy's current work.
A System of Radical Dependency
A research project (essay and website) tracing the lineages, from concept to production to completion, of my existing artistic works. Specifically, I am interested in building a “system of radical dependency” that takes my existing work as a starting point, tracing retroactively the origins of the materials used, the mentors and resources the processes were informed by, and the people and institutions that supported their public distribution.
A Manual for Saving Head
Solo exhibition of photographic work, drawing, and textile sculpture.
Bedroom Singing
A stream-of-consciousness "talk" performance delivered laying down with closed eyes about the sounds, songs and people that frequented a teenage bedroom, punctuated by moments of singing to music from headphones. Antenna is a venue in a carpeted bedroom in an apartment in Rotterdam.
I went to your concert and I didn't feel anything (v2.0)
'I WENT TO YOUR CONCERT AND I DIDN'T FEEL ANYTHING' is a performance lecture about emo music from the early 2000s, told through the artists' personal history. It speaks of the eponymous emotional performativity of this white male dominated music genre with humor through bad teen drag and a final riotgrrl reclamation of voice and emotional indifference (with backup vocals from Daphne Simons).
You May Bargain! I Know You May.
An installation of textile sculpture and installation, text work, and new and archival video works both made in collaboration with burlesque dancer Aria Delanoche.
Outdoor School
Outdoor School was a five-week residency program with Amish Morrell, Diane Borsato, and Tania Willard. There, I produced a series of analog color photographic works and texts alongside collaborator Tor Jonsson, as well as a workshop and performance event called "Keeping Loose Ends".
Sonic Eggs
Collaborative performance and sound-piece with Rotterdam-based artist Merve Kılıçer, after spending a week in-residence with art space Swimming Pool in Sofia, Bulgaria.
Available and The Rat
A project space run out of the front of my apartment in the south of Rotterdam. Available and The Rat hosts artistic projects, workshops, exhibitions, and events.
23 Days At Sea
A residency on a freight ship crossing the Pacific Ocean. One work produced, "Shanties", is a visual and auditory landscape that considers the contemporary role of music at sea. Verbal moments punctuate a soundscape of songs, and conversations about them, recorded aboard CMA CGM Fidelio, a freight ship traveling from Vancouver to Shanghai across the Pacific Ocean.
We of the Middling Sort
For We of the Middling Sort, the cutaways of a local upholsterer and the unwanted clothing donated by its residents have been used as the raw material for the work. Some of these garments, stretched taut or disassembled, are documented in photograms-cameraless images made by exposing a photosensitive surface to light. The prints capture light passing through garment openings and gossamer-thin surfaces, revealing spectral portraits of wear and the murky threshold between flesh and fabric.
Fogo Island Arts Workshops
Workshops on Fogo Island in Newfoundland in the summers of 2015 and 2016. Attendees of these workshops (adults and children, tourists and locals) were invited to think of the atmosphere of Fogo Island - specifically, the ground and the sky, as integral ingredients in producing these process-based artworks. Fogo Island's sun will expose cyanotype prints, while Shoal Bay's rocky terrain will serve as ample ground for the diverse textures for frottage rubbings.
The Mouth Holds the Tongue
Collaborative exhibition with artists Nadia Belerique and Laurie Kang. The work foregrounds the pleasures inherent in representing and experiencing time and space. It points towards collaborative methodologies by privileging temporal fissures and offering temporality as a visceral means of organizing individuals non-hierarchically. The forms of collaboration implicit in this project are not found simply within the artists' collectivity but implicate the curator, institution, viewer, and space.