Tap the images for more information about the projects.
Blood, Sweat, and Tears, 2024
A two person show of collaborative works with Quinn Isaacs, Rutgers gallery, New Jersey. The pieces in
the show, from left to right in the
install image:
Sweat Equity, 2024
Plastic horse head, metal, aquarium pump, silicone tubing, sweat of the artists. Viewers are encouraged to
grasp the hand grips to feel the sweat being pumped through the tubing.
Pacemaker, 2024
Plastics, micro aquarium pump, silicone tubing, blood of the artists
Beacon (2.0), 2024
Plastics, metals, custom electronics, silicone tubing, peristaltic pump, pumping the tears of the artists
into...
Time Sharing, 2024
Clock, acrylic paint, friendship bracelet, fiber optic cable, condom, glass shard
Sepal, 2024
7"x9"x21"
resin and plastics
Made for Bird Culture, a show of bird related works, at Pallas. Curated by Alex Lauritzen.
"working as a gardener over the last couple years has been shifting certain things in my practice, as the
shapes and forms from the plant world have taken up residence in my head. There is so much whimsy and
strangeness in how plants grow, and the more time I spend with them, the less familiar they become. It's to
the point now where it feels like i have near daily encounters with plant forms which seem almost otherworldly
in their origin and design. It's become a huge source of everyday wonder for me."
Alchemical Transformations, 2023
A collaborative three person show at Well Well Projects, in Portland Oregon, alongside Kelley O'Leary and Blue
McCall. From the exhibition text:
"It is fitting that the birth of the internet happened here – along the West Coast, the edge of westward
expansion. Colonialism’s insatiable hunger for space extends into a seemingly ethereal cyberspace. Yet,
digi-space requires physical space around the globe to operate. The continuous extraction of Earth’s resources
and exploitation of bodies, lives, and spirits for labor is shrouded in abstraction. This abstraction
continues colonialism’s destructive and murderous project in cyberspace. This exhibition investigates some of
the many ecological entanglements and physical absurdities of life in the digital age. Works in Alchemical
Transformations operate in the analogue while referencing the digital, pulling back and forth between the two
vernaculars in constant tension. By following earth’s materials and bodies, Alchemical Transformations shows
that the divide between digital and
physical is not so binary, but rather a permeable slippage."
Conduit, 2023
receipt printer, radio, computer, microphone, acrylic
8" x 8" x 24"
Made for Slow Connection at Pallas, 2023
Shown again in Diaphane at Soldes, 2025. Curated by Patrick Crowley
During the daytime, the computer uses a microphone to listen to the radio,
automatically surfing the channels until it picks up on voices speaking over the airwaves.
It then stops and transcribes these broadcasts, printing them out onto the receipt paper for
some time, before moving on to listen at different frequencies. The result is a loose, poetic
translation of the radio into long-form receipt scroll poems.
At night, the computer begins to dream, taking snippets from the voices of the previous day's radio
broadcast and using them as prompts to generate images, which also then print out onto the receipt
scrolls, alongside the text.
The code which runs the piece is accessible here on
github.
Slow Connection, 2023
A site-specific installation, hyper-local radio station, and sound performance, which took place in February
and March of 2023 in Pallas Gallery, San Francisco.
The show investigates the invisible infrastructure and frequencies of telecommunications
in post-internet San Francisco. The gallery space
buzzes with energy, revealing a
hidden world of radio hums and network static that exists around us at all times. The installation
explores these electronic depths for points of connection between the gallery and
its greater context in the infrastructural landscape of San Francisco, plumbing
the hidden realms of both geological and computational temporalities.
Cybernetic System, 2023
An RGB sensor reads color values off the stained glass color wheel,
which influences the motor position and the color of the LEDs. This creates a
data feedback loop which drives the sculpture.
Resin, glass, copper, aluminum, and electronics.
6" x 6" x 10"
Liquid Crystal Display, 2022
Stained glass box filled with salt, stepper motor, UV resin
12" x 10" x 6"
Beacon, 2022
3D printed UV Resin, stainless steel, custom electronics, water
pump, silicone tubing.
6" x 14" x 18"
One part of a collaborative sculpture (in progress) with Quinn
Isaacs.
Grass Piece, 2021
inkjet prints on transparency film, custom electronics with looping
video, and copper wire encased in clear resin.
27.5" x 22" x 3"
Part of the body of work for my solo show Clipping at the
Foundation Gallery in Kenosha, WI.
This body of work is the product of my reflection on the ways
computer generated images (CGI) have integrated into our lives.
Informatically distinct from photographic images, computer generated
images are a lens by which to view our own relationships to the
transparency and opacity of data which we all navigate daily. The
show consists of functioning electronics and 3D printed objects cast
into wall-mounted resin sculptures of varying transparency —
physical manifestations of intersecting (clipped) 3D meshes.
Accompanying these pieces are
this essay, which serves as the
conceptual
basis for these sculptures.
On the Lockheed Burbank Aircraft Factory, 2021
inkjet prints on transparency film, custom electronics with looping
video, and copper wire encased in clear resin.
27.5" x 22" x 3"
Part of the body of work for my solo show Clipping at the
Foundation Gallery in Kenosha, WI.
This body of work is the product of my reflection on the ways
computer generated images (CGI) have integrated into our lives.
Informatically distinct from photographic images, computer generated
images are a lens by which to view our own relationships to the
transparency and opacity of data which we all navigate daily. The
show consists of functioning electronics and 3D printed objects cast
into wall-mounted resin sculptures of varying transparency —
physical manifestations of intersecting (clipped) 3D meshes.
Accompanying these pieces are
this essay, which serves as the
conceptual
basis for these sculptures.
Architectural Study, 2021
inkjet prints on transparency film, custom electronics with looping
video, and copper wire encased in clear resin.
27.5" x 22" x 3"
Part of the body of work for my solo show Clipping at the
Foundation Gallery in Kenosha, WI.
This body of work is the product of my reflection on the ways
computer generated images (CGI) have integrated into our lives.
Informatically distinct from photographic images, computer generated
images are a lens by which to view our own relationships to the
transparency and opacity of data which we all navigate daily. The
show consists of functioning electronics and 3D printed objects cast
into wall-mounted resin sculptures of varying transparency —
physical manifestations of intersecting (clipped) 3D meshes.
Accompanying these pieces are
this essay, which serves as the
conceptual
basis for these sculptures.
Untitled (studies on clipping), 2021
3D printed and cast resins, hardware
dimensions variable
Part of the body of work for my solo show Clipping at the
Foundation Gallery in Kenosha, WI.
This body of work is the product of my reflection on the ways
computer generated images (CGI) have integrated into our lives.
Informatically distinct from photographic images, computer generated
images are a lens by which to view our own relationships to the
transparency and opacity of data which we all navigate daily. The
show consists of functioning electronics and 3D printed objects cast
into wall-mounted resin sculptures of varying transparency ‒
physical manifestations of intersecting (clipped) 3D meshes.
Accompanying these pieces are
this essay, which serves as the
conceptual
basis for these sculptures.
Ecopoiesis, 2021
Mixed media installation and animated short film.
13' x 4' x 7'
Made for the 50th annual UC Berkeley MFA exhibition at the Berkeley
Art Museum, this body of work speaks to the ways in which new media
technologies facilitate a turning inward of extractive neoliberal
logics onto our own minds.
It attempts to bridge the
space between the geological extraction necessary to develop
smart-technologies and the self-exploitative tendencies they foster
in users, considering both to be a similar process of terraforming
(earth shaping). The looping animation makes this conflation
literal, depicting a terraforming process unfolding on a
planet-sized brain.
Lossy compression,
2020 - present
Digital photo archive, wireless transceivers and micro-computers,
helium balloons, memory receipts
In the first iteration of this project, a micro-computer was
attached to a helium balloon and released into the air. The computer
on the balloon continually generated and transmitted a poem back to
the receiver cube (pictured) on the ground, until the balloon was
out of range and the transmission dropped (around 1km). The poem
from the first iteration can be found
here.
In the second iteration, the receiver cube was outfitted with a
receipt printer and a hard-drive containing the only original copies
of some 40,000 photographs from my life. The balloon was given a
microSD card, and as it floated away, the cube would wirelessly send
the balloon a random selection of photographs from the archive. Once
the photographs were copied to the balloon's microSD card, the cube
would permanently delete the original files from the hard-drive,
printing out low resolution copies onto receipt paper which fade
with time (memory receipts). The only original copies of the
photographs floated away on the lost balloon.
Antenna Tree, 2019
Miniature monopalm antenna tree running SMS server software.
Styrofoam, plastic, custom electronics, concrete
36" x 36" x 75"
Viewers who encounter this sculpture can text it to receive images
of real-world 4G cellular antennas disguised as both trees and
cacti. These fake cell towers ("antenna trees" as they are often
called) are a fascinating case study in the visibility and
obfuscation of network infrastructures. Service providers will
disguise cell-phone towers as comically fake looking trees in an
effort to maintain the supposed beauty of our built environment and
to soothe our collective paranoias about the omnipresence of
wireless technology.
