De Secretis Mulierum (2019)
15” x 22.5”
This screenprint layers an etching from the cover of Women’s Secrets, a treatise from the Middle Ages, with another etching depicting a feat of magic performed at a witch trial. The images overlap and metamorphosize as they are transferred to a new printmaking medium.
Amazon Guy (2020)
A discarded Amazon Prime box was fitted with a body made of spandex, newspaper, fluff, and clothing. Amazon Guy then attended a painting class with me for several weeks to highlight the absurdity of corporate personhood and to question brand loyalty. Amazon Guy currently guards my studio space, awaiting future business opportunities.
Notice Surveillance Capitalism (2020)
Gouache on paper
This installation explores the persistence and invasiveness of non-consensual surveillance for corporate profit. Six paintings made to resemble security camera warning signs were placed in a hallway far enough apart that viewers would always have a sign somewhere in their sightline – a constant reminder that they are being monitored at all times.
I AM STILL STRESSED (2019)
Marker on adult coloring book pages
I bought an adult coloring book that claimed to be “stress relieving” during midterm week and completed 16 pages. This is the result. This artwork questions the efficacy of small, expensive “solutions” to stress often used in place of institutional change.
Creating Lake Michigan (2020)
Apartment, photographs uploaded to Adobe Aero
Click here to view video
In this installation, I brought the lakefront back to my apartment through augmented reality software. Now, I can safely enjoy the sights and sounds of Lake Michigan from my apartment, and so can others! A link and instructions for creating your own beach scene is hidden at the photo site.
The materials that I choose to work with vary depending on the requirements of a specific project. Since I typically explore methods of storytelling and critique in my work, text or dialogue is often included to explicitly convey meaning or to forge a connection with viewers. The inclusion of humor in many of my works is crucial to my practice. To me, humor is necessary in any good story, even serious ones – I use moments of levity to soften heavy-handed topics and to bridge the gap between viewers and artwork.
Isolation and togetherness are the prime subjects of my most recent body of work. Since I have spent the last few months mostly in self-quarantine, unable to be physically close to other people, investigating alternate methods of sharing a space has become a priority for me. Whereas my previous works were occasionally site-specific in the sense that they related to Chicago or Evanston, these new works are directly tied to my living space. I alter the appearance of my apartment to complexify or transform its appearance with the help of augmented reality software. Although I am physically alone in a static location, through changing the layout and making the work publicly accessible, a new, communal space can exist.
While historically significant events take place all the time, it truly feels like we are undergoing “new history” on multiple fronts right now – we are the primary sources whose experiences and actions will matter to future generations. Working at the intersection of art and history is certainly interesting right now. The result of my art practice is a decentralized collection of works that converge unexpectedly and harbor critiques that resonate with the present and past. Viewer engagement is a necessary part of that process. Right now, locating moments of collectivity within a space where togetherness is discouraged is critical. And if it’s possible to have some fun at the same time, I’m in.