top of page

Work

Eye of the Beholder

Eye of the Beholder

Eye of the Beholder

Eye of the Beholder examines the garment as more than protection or decoration — it becomes a vessel for perception. By embedding glass into fabric, the dress transforms into a threshold between body and world, presence and absence, concealment and revelation. The interplay of translucent panes and opaque textiles invite viewers to look, while also asking them to question the ethics of looking.

The title Eye of the Beholder underscores this tension. While the phrase suggests that beauty lies in the gaze of the viewer, this garment resists such passivity: it watches back. Historically, eyes placed on the body — from Polynesian mata hoata tattoos to Baltic sun-eye rosettes and Mediterranean talismans — served as symbols of guardianship and vigilance. Here, those traditions are reframed in a contemporary body-scale form, where stained glass becomes both ornament and armor.

Eye of the Beholder asks whether clothing is simply something we are looked at through, or whether it can itself become a perceiving entity — a garment that commands presence, protects, and confronts the dynamics of voyeurism and power.

Cheeto King

Cheeto King

For this piece, I transformed the snack food Cheetos into an art medium to render a portrait of Donald Trump. The material choice is intentional—its saturated orange pigment mirrors the caricatured “orangeness” often associated with him, while the greasy residue transferred onto the paper seeps beyond the lines of the portrait. That oily translucence becomes metaphor: a fragile, porous surface standing in for his figurative skin.

The drawing is both humorous and critical. The absurdity of drawing a president with junk food underscores the cultural excesses that shape him—spectacle, indulgence, and gluttony. The material itself, mass-produced and disposable, speaks to the voracious ego the portrait critiques.

In blurring the boundary between food and fine art, this work calls attention to the ways image, consumption, and identity collapse into one another in contemporary politics. The Cheeto dust and grease not only mark the paper but also mark a culture complicit in consuming the spectacle.

A Roma Bisque

A Roma Bisque

This work transforms the familiar comfort of soup into an experiential, multisensory narrative. Using the process of distillation, I have captured the essence of an heirloom tomato and basil bisque contained within a small glass jar sealed with a cork. Each globe, dipped in red wax to recall the form and color of a tomato, becomes both vessel and metaphor, holding not only the scent but also the memory of a meal.

The cork, hand-painted with a parmesan-scented medium of my own creation, completes the course with the suggestion of a crouton garnish. Paired with the bisque’s distilled aroma, it re-imagines tasting through smell alone, inviting the guest to experience flavor beyond the boundaries of the palate. The jars are housed in a tomato basket with a crochet “warmer”, extending the work into the realm of tactility and memory.

By presenting “Soup” in this form, I have asked participants to reconsider the rituals of dining and the ways food connects to comfort, culture, and care. The piece blurs the line between nourishment and art, allowing a simple bisque to become an immersive sensory story, where scent, touch, and imagination together create a new way of savoring.

This work was part of a group seven course meal where each artist brought a composed course.

Sowing a More Perfect Union

Sowing a More Perfect Union

Sowing a More Perfect Union

Sowing a More Perfect Union reimagines the opening words of the U.S. Constitution as a living, growing entity. Constructed from grains and seed materials that sustain life and symbolize potential, each letter of the phrase We the People becomes a field of cultural richness. Every canvas carries patterns drawn from the visual languages of communities that have shaped America, from Native nations and African American traditions to immigrant cultures from across the globe.

This work honors the idea that democracy, like a garden, must be cultivated. The seeds represent both our shared origins and our diverse growth; their arrangement into bold letters suggests that unity is possible only when every element is valued. The piece also confronts the fragility of that unity. In this moment, the meaning of We the People is contested in debates over voting rights, immigration, bodily autonomy, and equal protection. Just as an untended field can wither, democracy too can falter if we fail to nurture it.

By embedding cultural patterns into each letter, the work insists that the “we” in We the People must be inclusive, unqualified, and alive to change. The use of seeds is both a metaphor and invitational reminder that the work of building a more perfect union is ongoing, requiring constant care, and the willingness to plant, tend, and grow together.

Carpathian Longhorn Beetle (Morimus funereus)

Carpathian Longhorn Beetle (Morimus funereus)

Carpathian Longhorn Beetle (Morimus funereus)

This sculptural work was created as part of the Research Insects and Found Objects assignment, which examines the delicate existence of endangered and extinct insects across continents. The featured piece represents the Carpathian Longhorn Beetle (Morimus funereus), a species native to Europe that is increasingly threatened by deforestation and habitat fragmentation.

Constructed from stained glass, wire, wooden beads, clay, and floral tape, the sculpture recreates the beetle’s distinctively textured body and dramatically extended antennae. Its display on a reclaimed piece of driftwood, carved with a bore hole, evokes the beetle’s natural reliance on old-growth forests—ecosystems now vanishing due to human development.

The use of repurposed, pliable materials is deliberate: it juxtaposes the strength and resilience of the insect’s form with the fragility of its real-world survival. The interplay of detailed craftsmanship and recycled elements invites viewers to consider the environmental pressures that threaten biodiversity, while also honoring the beauty and intricacy of species often overlooked.

Through this work, I aim to raise awareness of how intimately connected these insects are to their environments, and how the loss of one can echo through entire ecosystems.

Refraction Study

Refraction Study

Refraction Study

This work explores the dual nature of glass and its ability to both reveal and conceal, to reflect the world and to reshape it. By manipulating light and environment through the meeting of transparent and textured glass, I investigate how perception shifts with movement, time of day, and perspective.

The piece acts as both a mirror and a window: reflections fracture and reform the surrounding landscape, while light passes through to cast ephemeral patterns that change moment to moment. These fleeting distortions invite a dialogue between stability and transience, between the solidity of material and the fluidity of perception.

Ultimately, Refraction Study is about attention and an invitation to pause and notice how light and place are continually transformed. In using glass as both medium and metaphor, the work becomes a meditation on seeing, presence, and the quiet interactions between self and environment.

Fluid Resistance

Fluid Resistance

Fluid Resistance

Fluid Resistance explores the transformative nature of materials, focusing on the interplay between permanence and impermanence, rigidity and fluidity, tradition and experimentation. In this sculpture, wax and stone come together in a dynamic dialogue, embodying opposing qualities that evoke deeper narratives of resistance, transformation, and liberation.

The wax, soft and mutable, contrasts with the hardness and immutability of the stone. Through heat, the wax undergoes a visible transformation, melting and escaping from its static counterpart. This act of change becomes a performative element, where the material’s transformation mirrors broader themes of struggle, resilience, and release. The wax’s ephemeral quality highlights the impermanence of existence and the beauty of transition, while the stone represents endurance, weight, and systemic rigidity.

Viewed through a feminist lens, the sculpture symbolizes the tension between oppressive structures and the desire for autonomy. The stone becomes a metaphor for patriarchal dominance, unyielding and imposing, while the wax embodies the feminine effort to resist, escape, and redefine. The act of melting—of the wax slipping away—speaks to the ongoing journey of liberation and self-determination. It reflects the fragility, loss, and renewal inherent in that struggle.
Drawing inspiration from experimental art practices, my process embraces impermanence and unpredictability. Influenced by Marina Abramović’s performative endurance, John Cage’s emphasis on chance, and Christo and Jeanne-Claude’s exploration of temporality, this work challenges traditional notions of sculpture as fixed and eternal. The transformation of wax invites viewers to engage with the ephemeral, fostering a space for personal reflection on themes of change, resistance, and renewal.

Through this work, I seek to create a sensory and emotional experience, encouraging viewers to witness and contemplate the fleeting moments of transformation that define both the materials and the human condition.

Beneath the Surface

Beneath the Surface

Beneath the Surface

"Beneath the Surface" is a deeply introspective exploration of identity, transformation, and the passage of time. Using the tactile and labor-intensive process of encaustic and collage, I sought to capture the complexity of self-discovery. At the heart of the work is a colored pencil self-portrait, which symbolizes the core of who we are. It is mounted on a wooden board, intentionally exposed and vulnerable, yet framed by a series of layers that evoke protection, experience, and sometimes, concealment.

The act of wood burning created an intricate pattern around the portrait, representing the impressions and marks life leaves on us. As I built up layers of paper, fibers, and found objects, I envisioned the way we accumulate memories, experiences, and emotions, each adding texture to our being. These layers act both as shields and as burdens, creating a visual and emotional frame around the self. They suggest the constant process of growth and change, yet they also pose a question: what is hidden beneath?

Encaustic wax was used to seal the piece, adding a hazy, almost dreamlike veil over the portrait—reminiscent of how our true selves can sometimes become obscured by the layers we’ve added or the roles we’ve played. The final act of scraping away the wax revealed the self-portrait beneath, marking a moment of revelation, vulnerability, and acceptance.

This process, from layering to unveiling, became symbolic of the personal journey reflected in the accompanying poem—a journey of shedding, revealing, and embracing the self, in all its scars and beauty. "Beneath the Surface" embodies the courage it takes to peel away those layers and stand authentically, facing the world as we truly are.

Detaching

Detaching

"Detaching" is an immersive installation that invites viewers into a sacred space of personal reflection and transformation. Drawing from the ancient tradition of cord-cutting rituals, this work explores the deeply human need to sever emotional ties that no longer serve us. The installation consists of hundreds of strands of yarn and rope, suspended from the ceiling, symbolizing the connections we form with others throughout our lives. The strands are intertwined representing the complexity of human connection. The strands are weighted with stones, meticulously wrapped in copper wire, grounding the piece in the physical and the tangible.

As viewers move through the installation, they are encouraged to interact with the strands, engaging in their own personal ceremony of detachment. The act of cutting these cords becomes a symbolic release, a ritualistic gesture that mirrors the process of letting go of difficult relationships and reclaiming personal power. The varying textures and the gentle tension of the strings create a visceral experience, reminding us that while these connections may be delicate, their impact can be profound.

"Detaching" is not just a visual experience but a participatory one, offering each viewer the opportunity to reflect on their own journey of emotional release. The neutral tones of the strings echo the universality of this experience, while the copper-wrapped stones serve as a reminder of the weight and significance of the connections we choose to sever. In this space, art becomes a tool for healing, inviting each participant to take an active role in their own process of renewal and transformation.

Shared Humanity

Shared Humanity

Shared Humanity

"Shared Humanity" is a deeply introspective and evocative digital performance that bridges the tactile and ephemeral through the transformative use of wax, fiber, and fire. This work consists of two meticulously crafted coil pots, created from an intricate blend of wax and fiber, which are then set aflame in a ceremonial act of creation and destruction. As the pots burn and melt onto a plywood canvas, they transition from solid forms into a fluid narrative, embodying the fleeting nature of existence and the enduring essence of connection.
The performance is accompanied by a poem that serves as a verbal tapestry, weaving together themes of individuality and collectivity, difference, and similarity, highlighting the paradoxical nature of human existence. It speaks to the idea that despite the apparent diversity in our cultures, languages, and experiences, there exists a fundamental humanity that binds us all.

The act of the coil pots burning, their essence being transferred onto another medium, symbolizes the inevitable transformation that all matter and identity undergo. It reflects on the process of breaking down barriers and revealing the core elements that define our shared human experience. The use of fire, a primal force of creation and destruction, underscores the cycles of life, the purification of the soul, and the illumination of our collective spirit.

"Shared Humanity" is not just a visual and performative piece but an invitation to contemplate the deeper connections that exist between us all. It challenges viewers to look beyond the surface, to recognize the common threads that weave through the fabric of our diverse lives. Through this immersive experience, I aim to foster a sense of unity, empathy, and introspection, encouraging the audience to reflect on the universal bonds that transcend our differences and celebrate the vibrant mosaic of human existence.

Requiem for the Lost: A Mad World Music Box Symphony

Requiem for the Lost: A Mad World Music Box Symphony

Requiem for the Lost: A Mad World Music Box Symphony

"In creating 'Requiem for the Lost: A Mad World Music Box Symphony,' I sought to capture the complexity of emotions that arise in confronting the chaotic nature of our existence. Through the lens of a music box—a symbol of innocence and nostalgia—I explored the juxtaposition of beauty and turmoil, aiming to create a space where viewers can reflect on their own experiences of loss and resilience. This piece is a testament to the power of mixed media as a vehicle for storytelling, inviting a dialogue between the artwork and its audience about the madness of the world and the music we find within it."

Postmarked Inspirations: The 30-Minute Creative Escape Kit

Postmarked Inspirations: The 30-Minute Creative Escape Kit

Postmarked Inspirations: The 30-Minute Creative Escape Kit

"Postmarked Inspirations: The 30-Minute Creative Escape Kit," is a collaborative journey conducted with the graduate class, linking individual creativity, communal exchange, and therapeutic exploration through the medium of mail art. This project was an invitation to a shared artistic endeavor, one that is deeply rooted in the principles of spontaneity, introspection, and the connections that art can foster among individuals.

This collaboration begins with a carefully crafted mail art piece, designed not only to be a vessel of creative expression but also a conduit for personal reflection and therapeutic release. Each recipient receives a package, a tangible manifestation of care and artistic intent, containing a canvas, materials/tools, instructions, and audio/text inspiration. The materials are created in such a way that feels handmade and precious encouraging the viewer to take time with each item.
Participants are encouraged to engage with the provided materials, integrating them into a cohesive artwork within a span of thirty minutes, thus emphasizing the ephemeral nature of the moment and the immediacy of artistic creation. The invitation to incorporate additional tools or materials underscores the project's openness to individual interpretation and the unique touch each artist brings to their piece.

This initiative is not merely about the creation of art; it is an exploration of the myriad ways in which individuals interact with instructions, materials, and inspiration. It is a testament to the diversity of human expression and the shared yet deeply personal journey of creation. By collecting and displaying these artworks together, the aim is to highlight the collective narrative woven through these individual expressions, showcasing the unity and diversity of our voices.
“Postmarked Inspirations: The 30-Minute Creative Escape Kit” is also a reflection of my artistic practice, a practice that revels in the use of a variety of materials with an undercurrent of mental health awareness. Through this project, an invitation is extended to delve into this process, offering a moment of pause, reflection, and connection.

My Spot

My Spot

My Spot is a handmade, portable art studio — a tactile meditation on presence, creativity, and care. Inspired by Yoko Ono’s instruction from Acorn (“Find a spot that is comfortable for you…”), this work transforms that idea of a “spot” into a personal sanctuary for making and reflection.

Each page becomes a miniature studio environment — pockets for tools, fragments of fabric, and traces of color — inviting intimate engagement with drawing, painting, and fiber arts. The materials are humble and familiar, yet together they create a space that is both functional and poetic. The unfinished pages, left intentionally blank, suggest growth and the continuity of creative practice — an open invitation for future explorations.

At its heart, My Spot is an act of self-care through making. It honors the grounding rituals of artmaking and the emotional wellness that emerges from creating wherever one happens to be. It is both a studio and a meditation — a reminder to keep a clean, sacred space for creativity, and to return to it, in mind or body, whenever one feels inspired.

Beyond the Web

Beyond the Web

"Beyond the Web" delves into the delicate balance between destruction and creation, intermingling the fragile beauty of nature with the resilience of the human spirit. At its heart, a charred void in the fabric symbolizes life's unpredictable trials, often seemingly insurmountable. Yet, from this destruction emerges a meticulous—a hand-embroidered spiderweb, adorned with clear beads that mimic morning dew, symbolizing hope, renewal, and the intricate beauty that arises from healing.

Beneath this layer lies a vibrant homage to Araneus Marmoreus the marbled orb weaver, a spider renowned for its stunningly patterned abdomen and the artistry of its webs. The enlarged watercolor rendition of this pattern serves not only as a backdrop but as a window into a hidden world, encouraging the viewer to peer closer, to explore the depth and complexity of life mirrored in nature's designs. Mounted to create a shadow box effect, the piece invites an immersive experience, reminding us that what lies beneath the surface is often more intricate and beautiful than what is immediately visible.

"Beyond the Web" is a witness to the transformative power of art, capable of weaving together threads of loss, regeneration, and a narrative that speaks to the interconnectedness of all things. It challenges the viewer to find beauty in the aftermath of destruction, to see beyond the apparent chaos of the natural world, and to recognize the potential for rebirth and beauty in the most unexpected places.

Bandages of the Unseen

Bandages of the Unseen

Bandages of the Unseen

In a world where the wounds we carry are often invisible, hidden beneath layers of resilience or silence, my latest work, "Bandages of the Unseen," seeks to bring the intangible aspects of emotional pain and healing into a physical object that symbolizes protection. Using a vintage metal Band-Aid box as the vessel, this piece is both a container and a metaphor for the ways in which we attempt to protect and heal our most delicate injuries—the ones that reside within the mind and the soul.

In creating this piece, my hope is to shed light on the shadows of our internal struggles, to offer a form of solace, and to remind us all that the process of healing is as diverse as humanity itself. Through "Bandages of the Unseen," I aspire to contribute to a broader conversation about mental health, one that recognizes the power of art to heal, to unite, and to inspire a more compassionate and empathetic world.

Not a Prescription

Not a Prescription

Not a Prescription

"Not a Prescription" stands as a poignant and thought-provoking found object sculpture, born out of a personal response to the tragic events of a mass shooting in Maine in 2023. This artwork serves not just as a memorial to the tragic incident but as a critical commentary on the intertwined issues of mental health, gun violence, and the accessibility of firearms in the United States.

At the heart of this piece is a prescription bottle, a familiar object repurposed to convey a narrative far removed from its original function of healing. The label on the bottle has been digitally recreated for the shooter, who suffered a mental health crisis at the time of the shooting. This deliberate choice of subject for the prescription label underscores a disturbing irony: the prescription, in this context, warns against the side effects of resorting to violence and firearms as a means to address mental health issues, highlighting a societal malady rather than offering a cure.

The bottle, filled with bullets rather than medicine, stands as a stark symbol of the perilous ease with which instruments of violence are dispensed and acquired. The inclusion of the NRA's contact information on the label is a direct critique of the gun lobby's role in facilitating access to firearms, pointing to the perverse inversion of priorities where obtaining a gun becomes more straightforward than securing medical help for mental health conditions.

"Not a Prescription" is a clarion call to confront and address the gun violence epidemic that plagues the United States. It challenges the viewer to question the societal and legislative frameworks that enable such tragedies to recur with alarming frequency. Through this sculpture, I aim to ignite a conversation on the urgent need for comprehensive gun control measures and a reevaluation of how we, as a society, respond to mental health crises. The piece asserts a powerful message: Guns are not, and should never be, the prescription for addressing mental health issues.

Make a Wish

Make a Wish

"Make a Wish" emerges as a tactile meditation on the fleeting moments of celebration and the deeply ingrained traditions of wishful thinking that accompany our yearly commemorations of existence. Through the medium of embroidery on fabric, this artwork captures a singular slice of birthday cake, not merely as a subject of transient joy but as a vessel for the profound ritual of wishing.

The intricacy of the stitches and the choice of fabric as canvas lend an intimacy and delicacy to the piece, juxtaposing the permanence of art against the evanescence of life's moments. The painted plate beneath the embroidered cake grounds the work in the realm of the familiar, while the addition of a real birthday candle, lit and allowed to melt wax down the side of the fabric cake, introduces an element of time captured in physical form. This melting wax, alongside the deliberate singe mark where flame has touched fabric, serves not only as a reminder of the candle's temporary blaze but also as a symbol of the marks left by years passed.

The installation of this artwork within an ornate frame further elevates the everyday act of making a birthday wish to a moment worthy of reflection and reverence. This framing suggests that the piece, and the moment it encapsulates, is to be viewed with the solemnity and appreciation often reserved for significant life events.

"Make a Wish" invites the viewer into a participatory experience, evoking the shared ritual of extinguishing a candle with a breath and a hope for something more. It questions the nature of our wishes — those yearnings for the often unattainable — and reflects on the ritual itself as a poignant, collective human experience. It asks: What do we wish for, and why? In this way, the work transcends its immediate subject to explore broader themes of desire, temporality, and the human condition, capturing a universal aspect of our existence in the delicate interplay of fabric, wax, and flame.

The United States of Excess

The United States of Excess

The United States of Excess

The United States of Excess examines American wealth culture through a grotesque, multisensory sculptural form. Drawing from traditions of political satire, abject aesthetics, and social critique, the work presents a gold-coated creature whose swollen body and gaping mouth visualize the consequences of unchecked consumption. The wrinkled gold surface, glittering embellishments, and sagging anatomical folds evoke both the allure and decay inherent in the aesthetics of luxury.

The integrated audio amplifies sounds of slurping, chewing, and swallowing, extending the work beyond visual spectacle into an embodied critique. This soundscape transforms the interior cavity of the mouth into a resonant chamber of appetite, emphasizing the relentless and ongoing nature of American consumption. Through its combination of reflective materials, bodily form, and disquieting sound, the sculpture confronts viewers with the contradictions of the contemporary American mythos: abundance as identity, opulence as virtue, and excess as a national ideal.

Positioned within broader conversations in contemporary sculpture, the work engages themes of political grotesque, material excess, and the performance of power. The United States of Excess becomes both an icon and a warning, mirroring the cultural machinery that produces and consumes its own spectacle.

At the Threshold

At the Threshold

At the Threshold

At the Threshold places a handmade protest mask within an everyday domestic scene, suggesting the quiet readiness many women carry as they prepare to step into roles of protection and resistance. By pairing a symbol of contemporary armor with familiar household objects, the work reflects the current moment in which activism is not distant but woven into daily life—waiting by the door, poised to rise.

Alter

Alter

Alter is a mobile, collapsible altar that plays on the dual meaning of its name—both altar as a sacred structure and to alter as transformation. Built from stained glass and wood, its materials are chosen with intention: the varied tones of glass symbolize human diversity, while the warmth of wood grounds the work in humility. Unlike traditional altars tied to a single place or doctrine, Alter resists hierarchy and permanence, moving fluidly between spaces and welcoming all participants regardless of belief. Visitors are invited to kneel, meditate, leave offerings, or simply observe, making the piece both intimate and communal. At its core, Alter is an inclusive, non-denominational reimagining of the sacred—an open invitation to discover spirituality in one’s own way.

Impression

Impression

Impression explores the delicate interplay between control and unpredictability. The piece comprises hundreds of black paper tiles imprinted with white acrylic paint through a repetitive printmaking process. By pressing my index finger, coated in white acrylic paint, onto the center of each paper and folding it while the paint remains wet, I create symmetrical prints that are similar yet intrinsically unique.

This body of work engages deeply with themes of control, randomness, and acceptance. Each tile, though produced using a controlled and consistent method, reveals subtle variations due to shifts in pressure, paint distribution, or alignment. This reflects a broader truth about human experience: even our most calculated efforts yield results that we cannot entirely predict or replicate.

My approach draws on a lineage of minimalist and process-driven art, emphasizing repetition as a form of meditative discipline. The grid arrangement of the prints on a black wall invites viewers to consider both the collective impact of the work and the distinct beauty of each individual piece. Viewers will be provided with a magnifying glass, encouraging an intimate, tactile experience. As they examine each print in closer detail, they will discover the intricate nuances and slight imperfections that make each impression unique.

This interaction emphasizes the work’s conceptual depth, transforming the act of viewing into a moment of discovery and contemplation. It draws attention to the tension between precision and variance, structure and spontaneity, and invites a reflection on the nuanced and evolving nature of perception. Impression creates a space where viewers can find aesthetic pleasure and engage conceptually, appreciating how uniform processes yield profoundly diverse outcomes.

.pro-gallery-wix-wrapper {display: block !important;} .pro-gallery-wix-wrapper .gallery-item-container {opacity: 1 !important; display: block !important;}

bottom of page