“Crown Shyness takes its name from the phenomenon in which tree canopies grow close without touching, forming visible channels of air and light. Drawing parallels between arboreal, mycelial and technological networks, the work visualizes connectivity as negotiated proximity rather than seamless integration. Within the context of the exhibition, Crown Shyness echoes spiral and microbial logics of relation, where restraint, sensitivity and spacing are as vital as contact.” 

Featured in:
On the Life-History of Spirillum, a group show by Always Tomorrow, 1/26

︎︎︎ installation
︎︎︎ networking
︎︎︎ e-ink

Building upon the methods and principles of the Solarpunk movement,  Attunement is a proposal. This work employs the technological practices of craft and computation towards the goals of sustainability, connectivity and interpersonal agency. It insists, by calling both forwards and backwards through time, that we have all the tools we need to create a just and verdant future.

Many of us have been lured off center by the promises of extractive modernity, but it is not too late to regroup. Slowing down, taking stock and checking in–radical acts in today’s climate– make way for action grounded in collaboration with humans and the beyond-human.

The pieces within Attunement reflect upon life in a warming world, pointing at things that have been hidden or forgotten and call, gently and urgently, for a renewed attention to where in which we stand.

Featured in:
stop-loss, Stamps MFA Graduate Exhibition, 3/25 ︎︎︎

︎ installation
︎ algorithms
︎ solar power

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:

Detroit Warehouse Art & Design Fair, Art Clvb, 9/25 ︎︎︎

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