[under construction]
at Proyecto 'ace, Buenos Aires, Argentina, 2022
This work uses the horizon as a starting point to explore the relationship between printmaking, paper, and how we conceive of space. The horizon can be, among many other things, an easy shorthand for landscape, a charged moment of awareness during navigation, the contrast of two planes trying to coexist in our vision. I’m interested in the way my vision can become image-oriented or picture-oriented relative to the equipment and processes I have available to mediate it, e.g. phone cameras or printing presses.
The shapes present throughout the prints in this installation are drawn from las tipas growing throughout Buenos Aires. The forms are defined by the edges of tall canopies exhibiting crown shyness, the gaps where the upper branches hesitate to touch. It’s evocative, partly due to the tension at the edge that seems to belie the slow, overlapping growth of the trees. As a group, these contours also imply river deltas or geographical borders, so the point of view might be looking up, down, or across.
In this installation I focused on how the printmaking process—through layering, folds, and display relationships—can express both the tautness and delicacy of experience and, eventually, communication. I am always interested in the behavior of paper and its relationship to pressure, atmosphere, or gravity. Further, working with stencil and monotype on folded paper allowed for adaptation and flexibility, but required continuous diagramming and calculation that a fixed matrix would not. In this way, the tenuousness and constant reorientation was embodied in the process.
Assembled woodcuts on kozo
2021
Assembled woodcuts on kozo
2021
Assembled woodcuts on kozo
2021
Collaged woodcut on kozo
2021
Woodcut
48" x 34"
2017
Woodcut
96” diameter
2018
Woodcut
42” x 30”
2017
Installed in Conveners at RedLine Denver
2016
Woodcut on kozo, vinyl sign
60" diameter, unfolded
Guide for Returning unfolds into a paper parachute that, in many iterations, can both interact with its environment and tell the story of a return to solid ground that might have happened just moments before. The parachute itself is printed all over, using woodcut, with billowing patterns from the red and white drogue chutes that slow the reentry of space capsules. The entire structure allows for a kinetic experience that is immediate but still seems to imply an action or journey that exists somewhere else on the timeline. It functions as the opposite of potential energy; it is the memory or evidence of a trajectory.
Photo by Wes Magyar
Installed in Conveners at RedLine Denver
2016
Woodcut on kozo, vinyl sign
60" diameter, unfolded
GUIDE FOR RETURNING
Unfold parachute to occupy a space.
Unfold to describe your return to the Earth.
Unfold to signal for rescue.
Refold by joining letters in alphabetical order:
A to A, B to B, C to C, and so on.
Refold while anticipating air resistance.
Photo by Wes Magyar
Installed in Conveners at RedLine Denver
2016
Woodcut on kozo, vinyl sign
60" diameter, unfolded
Photo by Wes Magyar
Detail
2016
Woodcut on kozo, vinyl sign
60" diameter, unfolded
Installed in Conveners at RedLine Denver
2016
Woodcut on kozo, vinyl sign
60" diameter, unfolded
Installed in Conveners at RedLine Denver
2016
Woodcut on kozo, vinyl sign
60" diameter, unfolded
Photo by Hayley Krichels
2015
Etching
12" x 18"
This etching is part of Sphere of Existence, a juried portfolio organized by James Boyd Brent and Josh Bindewald for the 2015 SGC International Conference at the University of Tennessee - Knoxville. The nineteen artists in the portfolio addressed their own relationship with the world using the format and dimensions of Martin Waldseemuller’s 1507 gore map of the Earth. Waldseemuller’s two-dimensional print could be attached to a three-dimensional sphere, thereby creating a spherical representation of the geographical knowledge of his day. Each artist in the portfolio mapped their own sphere, inspired by the original prototype.
Space is a Parachute is part of my initial investigation of the visual and narrative possibilities of parachutes. I stretched the gore map past its practical function by assuming that if the interior of the gores could be used to create a model of the Earth, then the negative space around the gores should be used to create a model of outer space. Interestingly, if that model is actually assembled, it starts to create an inverted toroidal form, which evokes shapes associated with many existing models of the universe. It also looks like two parachutes (which are also assembled from gores) back-to-back.
An ongoing artist’s book project that collects various “moons” in a ledger. These moons range from stencils and remnants from the printmaking process to shaped etching plates, transfers, and other paper interventions.
16" x 13"
2013-present (ongoing)
at Solo(s) Project House, Newark, NJ, 2014
Rhinestones, polyester
ITEMS has grown out of my practice of collecting receipts with an item description or shorthand that seems to describe something entirely different from--and far more interesting than--what I actually bought. It is now an ongoing project that involves constructing these implied objects from a variety of materials, creating an inventory of strange things I'm surprised to have purchased. They are displayed alongside a receipt printer that itemizes the objects again and acts as their only labeling information. This bookends these fantastical, actively useless objects within a mundane and utilitarian language of accounting and creates a parallel universe of things that I purchased alongside my shirts, shoes, and copy paper.
Receipt printer & Peanut Bison
at Solo(s) Project House, Newark, NJ, 2014
at Solo(s) Project House, Newark, NJ, 2014
Thermal printer and components, etched aluminum, wood
at Solo(s) Project House, Newark, NJ, 2014
at Solo(s) Project House, Newark, NJ, 2014
at Solo(s) Project House, Newark, NJ, 2014
Faux fur, cotton fabric, fleece, rope, polyester stuffing
at Solo(s) Project House, Newark, NJ, 2014
Cotton fabric, fleece, polyester stuffing, rope, dock cleat
at Solo(s) Project House, Newark, NJ, 2014
Faux fur, rope, polyester stuffing
at Solo(s) Project House, Newark, NJ, 2014
Peanut butter, glass eyes, foam, wood, casters
at Solo(s) Project House, Newark, NJ, 2014
Peanut butter, glass eyes, foam, wood, casters
at Solo(s) Project House, Newark, NJ, 2014
Peanut butter, glass eyes, foam, wood, casters
at Solo(s) Project House, Newark, NJ, 2014
Marquee sign
Felt
25" x 66" x 1.5"
2014
Banners for Live Art Magazine, Issue 2: Gravity, 2014. Edited by Amanda Herman. Academy of Music, Northampton, MA.
These are reminiscent of commemorative banners that might hang in a gymnasium, and are some very early thinking about a future installation that conflates and confuses our proprioception and kinetic, bodily memory with our shared cultural imagination of space travel.
Felt
74" x 73" x 1.5"
2014
Felt
25" x 66" x 1.5"
2014
Felt
74" x 73" x 1.5"
2014
Etching (spitbite), latex paint, punched holes
52" x 27.5"
2013
Etching, drypoint, collagraph, chine colle, latex paint
58.5" x 33"
2013
Etching (spitbite), latex paint
59" x 34.5"
2013
Etching (spitbite), lithography, monotype, collage, blind embossment, latex paint
58" x 34"
2013
Etching (spitbite), drypoint, monotype, collage, latex paint
58" x 34"
2013
Etching (spitbite), punched holes, latex paint
59" x 34.5"
2013
58" x 204"
2013
During the summer of 2013, I was a resident artist at the Elsewhere Museum and Artist Collaborative in Greensboro, NC. Elsewhere is a “living museum” set in and among the contents of a former thrift store and is an exercise in site-specificity, cultural memory, and resource management. During my five-week residency, I became interested in designing games to act as microcosms of the museum’s various functions and to give visitors new ways of physically engaging with existing objects in the collection. I designed and built three games, Tilt, Mulligan, and Kyle the Unicorn, which deal with the decision-making involved in museological practices and which explore the difference between categorization and meaning. These games will remain in the museum indefinitely, not just due to their site-specificity, but because the collection must remain intact.
2009
Handmade abaca paper, basket reed, string, wood
2009
2010
Etching
22" x 15"
2010
Oresman Gallery, Smith College
2012
Oresman Gallery, Smith College
2012
2010
2010
2010
"To fall is so understand the universe." -Unknown
2010
2010
Etching (spitbite) and monotype
58" x 35"
2009
Intaglio and relief
58" x 32"
2010
2010
2010
2010
Etching (spitbite)
58" x 34"
2009
Dry point, monotype, chine colle, punched holes
44" x 30"
2010
Dry point, monotype, chine colle, punched holes
44" x 30"
2010
2010
2010
Etching (spitbite), monotype, aluminum baffle, punched holes, gouache
58" x 35"
2010
Etching (spitbite), monotype, aluminum baffle, punched holes, gouache
58" x 35"
2010
Etching (spitbite), monotype, aluminum baffle, punched holes, gouache
58" x 35"
2010
Lithography, archival inkjet, monotype
30" x 35"
2010
Etching
22" x 15"
2010
Lithography, collage
40 x 40
2010
2010
Etching (spitbite)
58" x 35"
2009
Lithography, archival inkjet, monotype, collage, paint, punched holes
58 x 32
2010
2010
2010
Handmade abaca paper, basket reed, latex tubing
2010
Paper sewing pattern, shellac, spray paint
2010
2010
2010
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Projection on paper with punched holes
2010
Projection on paper with punched holes
2010
Projection on paper with punched holes
2010
Projection on paper with punched holes
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
Wood, found materials
75" x 36" x 36"
2010
