Love Letters to a Landlord, was created by combining my skills of casting, sculpting, and research into the olfactory.

Drawing from my own experience as both a landlord and tenant, I was interested in where our emotion connection to lived space ends and begins?

Does owning constitute responsibility or does simply caring?
Beneath each of the sculptures lay a pile of shavings that held unique scents.

The audience was invited to touch and take bits of the lotion, soap, or wax fragments beneath each of the ceramic pieces— all compounds associated with caring for ones physical body.

Built with (care) Nails, is a video installation that is comprised of three nails cast in wax, shea butter, and soap, which are placed alone side a monitor. The nails are delicately alined in the wall beside the protruding video screen which plays the video on a loop. Sound is also include.

This video installation, explores gender stereotypes in preserved masculine fields, in this case, construction, utilising themes of strength, care, and the feminine through material.

Threads Spaced Too Five, is built of timber and scented dryer sheets, a material associated with childhood memories of my grandmother.

This piece was one of my most challenging works to date. Not only because of the labor and delicacy of the material, but the processes used in its fabrication.

Hand stitching and tailoring are what make up its foundation, a trade my grandmother used to construct her life.

Déan Cúram / take care, a group MFA show that took place at the Burren College of Art Gallery with artists Elizabeth Bleynat, Tiffani Love, and myself.

The images shown are from my installation series titled, A Wall Two Place, that was part of the 2021/22 MFA exhibition.

The works were comprised of plaster, drywall, wood, wax, tobacco oil, synthetically scented dryer-sheets, and thread.

An audio file of my grandmothers voice accompanied the installation, which could be heard at intervals, whispering out from the large cracked and broken wall.

Both entry ways, held a collaborative element. Plaster floorboards were placed below the audiences feet, which splintered and came apart with each step.

Citizen, was a multimedia installation, made-up of mostly gypsum, plaster, and paper.

About 17 feet high, 47 hand sculpted casts of pigeons nested along the faux wooden moulding which decorated the gallery walls.

Four different paper city scapes lay on the floor below, illuminated from inside, and scattered amongst the up-cycled pages of found novels.

Placed near the entryway of the gallery, was a large book carved of plaster, used as a podium for a literary reading on the night of the opening.

An audio recording taken from my neighbourhood, interwoven with the melodic sounds of pigeons cooing, played on loop from speakers in the gallery. This track would rise and fall throughout the duration of the installation.

bronze and plaster casts

This installation is made up of four life casts of my own face and mouth. Each gypsum cast captures my mouth slowly opening. The final piece shown here is organised in sequential order and holds four small speakers in each of the throats which are mounted behind the floating wall. The sounds from the individual speakers sound each of the letters which formulate the word, W O R D. There is a written text the accompanies the installation:

Before we can create, we define our ideas through letters. 

Then, turn them to words, speeches, sounds.

Finally, they form themselves to action.  

Letters are not restricted to the page, 

But lay across our world . 

Each movement starts a letter, 

escapes through words, 

and takes flight by deeds.

A Collaborative multi-media installation made in partnership with Anika Sanders, painter and illustrator. The piece was installed in the gallery for one month. Each week the installation would evolve. Those evolutions can be seen here. Below is the text that could be read on the door of the installation:

Unnoted tones

 of greens

 and blues

taken into account its

 lack of "us"

      lack of

  "its"

slowly encroached upon

thirteen

incoherent lines

   carved out 

  made dams

 clouting up bloodlines 
     created islands  

incapsulating solitude

weathered down

beaten gray

a reality grown over

wrapped and imbibed by greens

by moistened tongues of decomposition

lapping 

at roots of the earth

Ceramic homes inspired by places lived and loved.

This ceramic light hosts a combination of tiny homes/buildings of varying sizes and shades of yellow.

The miniature figures are strew about the surface of the light to form a miniature city scape in the of the center piece. While six larger 2D ceramic homes, also glazed a variety yellows, encircle to mimic sun rays.

These ceramic pieces were inspired by the sea.

Each anthropomorphic creation has a set of human hands and some possess precious metal elements.

I believe we seek to own out of fear of the unknown.

This piece is a reflection on the forced encampment/relocation of the Japanese Americans after Executive Order 9066, which was both unjust as well as "un-American".

After working hard to position themselves within the American community, this "displacement" caused a wave of grief and confusion which would go on to effect future generations.

The small figure casted in wax was heated and cooled, and then repeated as a reference to the intense living conditions the Japanese Americans faced during their incarcerations period. After the wax figure completely lost, any of its recognisable features, a new figure was replaced, and the process was continued. 

Today, this cycle can be read to symbolise the suffocating, entrapping grip western culture envelopes the consumer within.

wax and metal

Installed Onsite 

a few custom orders and things to keep the hands busy.

ceramic

2014-current