“When Sam Griffith seeks inspiration, she looks towards the sun. Griffith parlays her interest in collaborating with Earth’s most abundant source of renewable energy into the sensitive process of cyanotype printing and interpretation of natural data. Earth’s natural rhythms are important here, making room to observe that synthesis can happen over time.

All the code she uses to translate flora is open-source, significant in its community-driven nature, making it also abundant. This is all in contrast to the way we expect our technology to be available 100% of the time at the expense of earth’s finite resources. Griffith creates her own ecosystem of creation, all of it powered by the nuclear reactor in the sky. Sun in, sun out, for the purposes of creating a sense of relation with place in the natural world.”

- Sarah Rose Sharp for Fiber Club*


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