How can basic human and ecological needs be met in a culture which strategically, systemically denies their existence?

I think a lot about our present situation. Neoliberalism is a system of economics and governance. As a society, we live under this ideology but many of us don’t even know its name, let alone comprehend the invisible ways in which it colors our understanding of the world and ourselves. While I strongly encourage others to educate themselves on this crucial topic, I am not qualified to provide this education. I am not an economist. I have no solutions. Rather, I present chances to re-evaluate what we think we know, how we define reality.

Since ideologies define our conception of reality, it is necessary to create situations with operate outside of ideological logic in order to imagine potentialities for different realities. I make and offer new situations. They are not answers, they are a strategy: one possible way to pierce the veil. Past and present, memory and dreams, real and conception, self and society -- these seeming dichotomies are completely porous, in constant flow back, forth and across each other. Extended empirical experiences with perceptual stimuli for which a singular reading of physical materials (including light) within a four-dimensional space is not possible makes this state of flux clear.

My works are immersive, site-conditioned, digital light projections. Abstract animations are made and presented through projection-mapping. This mapping usually involves sculptural objects and/or existing features within the space.  These materials are easily recognizable: wood, fabric, walls and floors, light. You know exactly what you’re looking at. However, as the light moves, changes in brightness and color seem to alter material properties of objects and relationships between them. So, now,  you know exactly what you’re looking at but you have no idea how it looks the way it looks. What you thought you understood is presenting itself in an altogether unfamiliar reality. 

My studio practice and academic pursuits brought me to the world of Perception Theory. Maruice Merleau-Ponty had a huge influence on the work of artists Robert Irwin and Donald Judd’s respective continuations of this theory, in both their writing and studio practices. Merleau-Ponty described vision as a product of our eye and mind working together. Our eyes perceive everything in front of us. However, for efficiency, our mind filters the information. Unimportant information, though perceived, does not register in our vision. We literally don’t see it. Cultural systems of value influence our vision. As a society, we seem to value productivity above all else. Whatever obstructs productivity is looked down upon. In the name of The Real World, human emotion is cast as frivolous, irrational, unreal. This is not to say that individuals or groups don’t value emotions. As a culture, though, there is little place for it.

So, I make these works because they are spaces with room enough for my whole self. The making of them is a practice of actively attending to the present, to my physical moment and place -- to my situation and my humanity. It’s looking to see what I’m not seeing. It’s a process of engaging fully with both external and internal reality. Hiding from reality often times feels like the only way to emote fully. Or else, I have to tamp down emotion in favor of performance. In the studio, it’s the opposite. Mobilizing inner child psychology, I ask myself what I want to play with [one-person dance parties are a frequent result!]. Play connects my emotion with my situation and starts to dissolve linear time. Being engaged absolutely and at once with the world in front of me and my humanity recalibrates my entire outlook on both. I feel confidence, optimism, a rightness with who and where I am. I don’t know that others have entirely this same experience with my work, but, many have told me they indeed feel it opens a unique space of emotional presence. This comes after spending sufficient time with the work for empirical experience with the shifting perceptual stimuli to take place. Looking to see what I’m not seeing makes room to feel.

Immersed in my situation and my humanity, I can see the invisible and feel the suppressed. I know what is real and what is construct. For a moment, I am whole. 


Western thought has maintained, since the Renaissance, a vantage point separate from the world. We are not part of the world. We look out upon it. This is a lie. In art, one point perspective epitomizes this fallacy. We call this lie Realism. One point perspective does not exist. We are within and of the world. We see many things at once. In order to bring our cultural vision closer to reality, we must abandon this idea of a fixed, exterior looking-on in favor of a vision that requires multiple perspectives to form a complete picture. Art is the most logical and effective place to initiate this cultural change.

Chicago, IL


Studio Art: Film/Video/New Media, 2019, School of the Art Institute of Chicago, Chicago, IL
Fine Art, 2012, Corcoran College of Art + Design, Washington, DC


MFA ShowSullivan Galleries, School of the Art Institute of Chicago, Chicago, IL
StreetlightWedge Projects, Chicago, IL

20/20 Double Vision, Dupont Underground, Washington, DC
Streetlight, Roman Susan Art Foundation, Chicago, IL

13th Annual Transformer Silent Auction, Katzen Arts Center, Washington, DC

12th Annual Transformer Silent Auction, Katzen Arts Center, Washington, DC
Enveloped, CulturalDC, Washington, DC
Art All Night Nuit Blanche DC, DC Commission on the Arts and Humanities, Washington, DC
Virtue by Proxy, Bar Dupont, Washington, DC

Shiver, Delicious Spectacle, Washington, DC

Stasis, Bar Dupont, Washington, DC

14,000 Ft., Civilian Art Projects, Washington, DC
Créme de la Corcoran, Gallery 405, Baltimore, MD
NEXT at the Corcoran: Class of 2012, Corcoran Gallery of Art, Washington, DC

Attention:, Caos on F, Washington, DC
Undergraduate Juried Exhibition, Juror: Andrea Polan, Corcoran Gallery of Art, Washington, DC

Prospect/Introspect, Orchard Gallery, Bethesda, MD


Summer Merit Scholarship, Ox-Bow School of Art and Artist , Saugatuck, MI
2008 - 2012
President's Award, Merit Scholarship, Corcoran College of Art & Design