The five prints of Sunward were produced in collaboration with the power of the sun. Graphics were printed on transparencies using power from a solar panel and impressed on the fabric by cyanotype solution reacting to late summer UV rays.

Through a combination of generative code and traditional printing techniques, Sunward points towards a future where humans have learned to utilize their technological knowledge to place themselves back into nature. Harkening back to cyanotype’s first use (botanical recording), Sunward places algorithms mimicking nature as something to be appreciated, for both their beauty and usefulness as we attune ourselves, once again, to the natural world.

Featured in: Environments & Microclimates, a Fiber Club* group exhibition, 9/24 ︎︎︎

︎ cyanotype
︎ algorithms
︎ solar power

A desire line appears when a path paved for human use fails to take into account human nature. Two cement walkways in perpendicular orientation connected by multitudes of (human) feet over time, forming a third route through the grass, worn down to dirt. Sometimes a curved trail, sometimes a diagonal one, they show how we get to where we need to go when our best laid plans fall short.

Utilizing the DIY structure(s) of Ken Isaacs and Victor Papanek from the 1970s, Desire Lines builds upon the ‘room within a room’ concept and extends it to conjure a future within a present instead. A fabric piece, coded video projection and 3D prints work in concert to suggest nuanced and alternative ideas about environmentalism by means of rewilding, native plant sowing, stewardship, self-education, community and play.



Featured in:
Anedged: 2024 MFA First Year Exhibition ︎︎︎

︎ installation
︎ solarpunk
︎ computation
︎ fiber 

Floating selvedges, circumsolar orbit. Galileo knew something about my dad and me.

Floating selvedges, circumsolar orbit. Galileo knew something about my dad and me offers a cultural exploration of strategies for addressing climate change, centering on domestic implementation of solar energy. Inspired by a personal exchange between myself and my father, Floating Selvedges interlaces textual elements and woven connections to construct a layered narrative around familial relationships on a warming planet.


Featured in: Ecosocialism or Extinction, Swords into Ploughshares Gallery, 1/24 ︎︎︎

︎ installation
︎ solar power
︎ weaving

Rule 110 is a beaded art piece depicting the elementary cellular automation algorithm of the same name. Cellular automata, the algorithm on which Conway’s Game of Life is built, is significant for its ability to model a range of complex behaviors. As defined by Steven Wolfram and Matthew Cook, rule 110 is unique among cellular automata due to its proven universality and Turing completeness. Depicted here in beads of jasper and white jade, the rule enters the third dimension as a weighty fabric, connecting the worlds of scientific computation and organic elegance.

Featured in:

Best in Fiber Arts Award, University of Michigan Science as Art Competition 2/24

Mending the Net, A Fiber Club* group exhibition, 9/23 ︎︎︎

︎ beading
︎ algorithms
︎ biophilia