62 Miles of Girl Talk is an immersive sculptural installation that performs the act of processing the vertical distance between the ground and the edge of earth’s atmosphere in monofilament. The 62-mile line is tightly strung from one wall of the room to the other, a gigantic harp that comes in and out of vision. This sculpture is hard to see from certain vantage points: it’s an entity that disappears from view from one space in the room, and then shimmers into vision from another. The piece’s sculptural impact as a large-scale, looming, architectural structure begs visitors for immediacy: to walk through it, to touch it, and interact with it, allowing the viewer to be present. The instrument invites musicians and viewers to pluck, bow, and strum its strings; a band of musicians composed a piece for the instrument as a performance. Accompanying these sounds are recordings of whispered conversations that chronicle and re-perform the transcribed conversations that resulted from the repetitive, laborious process of making the instrument with a team of young women. Through repetitive processes from spool winding to welding, the piece investigates a history of “women’s” work, and the instability and fluidity of gender as understood through fundamental acts of making. Gender and labor are as fluid and relational as a string: they only are given shape by their shifting attaching points.

Metaphysics is a Master's thesis in Visual Arts regarding the face, in the form of a 9 channel video installation with accompanying publication and thesis document.

This paper is not intended as an academic analysis of the art-works produced for the thesis project, but rather is an experiment within the hypothesis that on this occasion the artist could perhaps best use the written word to generate an experience for the reader that functions similarly to one's experience of actually viewing the corresponding art exhibition. The experimental nature of this paper aims to provide a spacious yet curated playground for free-associations, cultural criticism, the reading of personal narratives, thoughts on the notion of location and projection, and for the decoding of poetry.

Conflating inanimate and animate, and just possibly, an analogy for a body trying to glimpse and comprehend its place within a more extensive hegemonic system, these works use the microscopic as a vessel to explore an individual's agency to affect and counter a hierarchical system.

The exhibition's title was found when looking through a book on medieval monstrosity and the female body. It is a direct reference to the 14th-century medieval manuscript "The Showings" by Julian of Norwich, a future anchoress or mystical recluse. While suffering from a severe illness, she experienced 11 days of hallucinations in which she hybridized Christ as a monstrous but compassionate mother figure. After recovering, she recorded her visions.

In this exhibition, five abstract sculptures are organized as hallucinations/visions of what a body could be. The viewer's procession through the show is framed by a copper foil archway, an entryway for both the viewer and the sculptures–an initiation, a doorway, a celebratory moment marking positionality. Each work is a "showing" oscillating between verb and noun, the vitality of each work highlighted like the fiction it is.

When making the work for this exhibition I viewed it through a lens of science fiction. Using science aesthetics in an embodied sympathetic method, my mind fantasized and created a world around the collective multitude and consciousness contained in each body, and its potential to turn into something monstrous. Similar to some science fiction writers there is an undercurrent of ethical allegory.

The exhibition A Natural History is comprised of two series of ambrotype and tintype photographs that depict fictional historical figures examining, ordering, and recording their worlds with a variety of different tools. These photographs were built from the ground up, from the construction of props to the staging and photographing of these scenes with nineteenth century technologies. In A Natural History a nineteenth century explorer is pictured alongside his collections of objects from the natural world as well as an elaborately constructed portable cabinet of curiosities. The photographs in The Expanse of a Fact exhibit the construction and display of a spherical moon sculpture and a diorama of the lunar surface. It visualizes a sequence of actions that mirror the production of the image series, thus producing an origin story about the creation of the work itself.

As suggested in three works made between 2014 and 2015, this document works toward an understanding of art making that indexes the act of its creation, which extends beyond the artists hand. Instead, through overlapping histories, geographies and plural narratives, it is possible to see the break down of hierarchies that exist not only in the physical manifestations of works but also in regimes of visibility, presence and sentimentality.

What happens when a body of knowledge returns to the body from which it took off? What does it mean to study life through it's carcass?

THE THING IS ALL AROUND ITSELF considers an `island' from the perspective of Malaise, a flying insect trap that mimics the form of a human tent. The Malaise trap acts to passively involve insects by intercepting their flight path before funneling them into a bottle-neck chamber. This Thesis explores trap-setting as an alternative paradigm for artistic process, whilst the trap produced then functions as a non-euclidean frame through which to view the world - a klein-bottle space in which inside is always out.

This writing serves as a expository text of the thought-process regarding the work generated for the thesis exhibition is love a tender thing?, which was installed in University Art Gallery from April 28th- May 12th, 2018. In this document, fiction as an action is explored as a productive site for imagining resolutions to ‘micro-disconnections’ found in artistic collaboration. Themes of community, sentimentally, interdependency are explored through a lens, which slows down and hones into the overlooked forces of tension and gravity within the misconnections of relationships