This project involved two parts. The first was the design of a mobile and modular "kiosk" that was meant to be an activation device for social sculpture. The kiosk could become anything: a tiny barbershop, a puppet theater, a soup shack and in this case, a grandma's house.
As a way to provoke thought around the roles that grandmothers play in our lives, my collaborator Eliza Stamps transformed the interior of the kiosk into a grandmother's house. Displayed alongside the house were selected stories from local Philadelphia Grandmothers, aiming to connect the project back to the local community.
The project was featured in Phillyworks, a group show at the Philadelphia Arts Alliance.
This site-specific installation was created for a group show curated by artist Isidro Blasco. Before gutting and remodeling a house in the Kensington neighborhood of Philadelphia, Blasco invited a group of artists to create interventions in the space.
This work, depicts Apsara hand positions from classical Khmer dance. The hand positions represent the different stages of the life cycle of a plant. The location (the bedroom) and material (wallpaper) honor a simple domestic simplicity. Their arrangement serves as a meditation on cycles of growth, decay and rebirth as this home and future family create new opportunities in the space.
This series of watercolors was taken from cast-off photographs found at a Philadelphia thrift store. My duplication of them aims to honor a series of geographically disparate moments and memories that all are connected to Philadelphia via the lives of those who have taken and procured them.
This series, created at the Chashama North residency, is part of a visual mapping of the farm and natural surroundings of the neighborhood I called home in Pine Plains, NY.
This particular series is a celebration of slate harvested from rock outcroppings in the adjacent woods. Evocative of primitive tools, each shard is wrapped in stainless steel thread, a study of the unique patterning and fracturing properties of the stone.
This series of casts was created as part of a visual investigation of a farm that I lived on one summer. The eggs were laid by our resident pets and providers, Blinkin, Pierre and Twinkle Toes.
The cast were made from eggs consumed by the residents as a manner of making a shell or a part, whole again. Additionally, the casts are meant to make permanent and breathe new life into an ephemeral, mundane object of sustenance.
This series of visual and material investigations of the Wissahickon Valley section of Fairmount Park, Philadelphia, PA. The studies focused on the role of the woodpecker as a keystone species, their cavity creation, and the bird's role in the process of forest decay and regeneration.
The bricks that served as the casting object for this series were found on the grounds of the Chashama North residency in upstate NY. The casting of the bricks served as a jumping off point for an investigation of the brick industry of Upstate New York. Three companies of the dozens that once operated in the area are represented; the original bricks were created using the soft-mud pressing process popular from the mid 19th through the early 20th century.
As part of an exploration of the local woodlands, this sculpture traces evidence of the role of insects in the decay of dying trees. A pin was inserted at every identifiable mark indicating wood ingested or carved out by an insect and a web constructed from these pins.
These sketches were created as a way of translating meadow sounds into visual marks. Created with closed eyes, the lines represent different threads of sound created by the wind, birds, insects and grasses of the meadow.
