Installations

Barely Tamed

2024

Over three months, Barely Tamed shifted from natural light into the ultraviolet spectrum. Materials that initially retained a connection to their everyday origins took on unfamiliar identities. This transformation heightened the tension between order and chaos.

Entanglements

2024

Vibrant orange threads wove across abstracted landscapes of soft purples, whites, and earth tones. Entanglements explored the tension between structure and chaos, connection and separation, and the ways we became intertwined with memory, material, and meaning.

Haptic Traces

2023

Intricately patterned surfaces invited viewers to experience touch through sight. Swirling spirals, geometric grids, and clustered forms explored the relationship between texture and memory. A palette of creams and golds emphasized the organic qualities of the work.

Blind Site

2020

Making, accumulating, and trust redirected this installation. What I had planned as floor-to-ceiling backdrops became wall forms that appeared hand-carved, like archaeological ornaments frozen in time. Dots originally intended to signify braille scattered across the wall like a meteor shower.

Blind Sight

2020

Influenced by Charlotte Perkins Gilman’s The Yellow Wallpaper, this installation explored inclusion and exclusion. I translated two sentences from the story into braille, which functioned as both pattern and code. The text became a visual presence rather than a message intended to be read.

Under Cover

2018

Under Cover had a performative component. Viewers were encouraged to “try on” tapestry-like constructions that otherwise lay dormant within the space. Their bodies activated the work.

Amass Series

2012–2017

In the Amass series, I transformed throwaway cosmetic sponges into complex, seemingly living organisms. I intentionally worked low-tech in a highly specialized and technological world. By repurposing products taken for granted by most, I breathed new life into the mundane.

My Nature #3

2016

During my residency in Budapest, Hungary, I continued to work with cosmetic sponges as my primary material. Trash bags, packing peanuts found on the city’s streets, and shredded paper became additional sources of texture. When installed, the gallery wall became both anchor and springboard.

Abundance

2012

Abundance introduced the cosmetic sponge, which became my primary material for seven years. Thousands of small, disposable objects accumulated into monumental constructions and immersive spaces. These seemingly insignificant building blocks also absorbed sound, changing the experience of the gallery.