Previous Next

Mediascapes is a series of macroscopic photographs of computer screens captured by an iPhone in panorama mode. Through intentional destruction, including stretching and enlarging, individual pixels blur into painterly strokes and fields of color emerge as abstract landscapes with features such as horizons, mountains, and clouds. It is important to remember that digital spaces exist as part of the natural, physical world. Mediascapes aims to collapse needless boundaries between digitality and materiality, instead seeking an alternative understanding of media as material agents in, of, and as our environments.

Fleck is a macroscopic panorama of ice, created on site for the Ignition exhibition at the Crossman Gallery in Whitewater, WI. I imaged and stretched an approximately 2 inch piece of ice to be printed at 40 inches tall and 90 inches wide, revealing its structures as well as flecks of embedded leaves. Through my process of extreme image stretching, digital artifacts appear like dots of watercolor paint up close.

Previous Next

How does the weather change our feelings?

How do the winds shape our love?

How do the tides take our breath away?

This work pulls real-time wind and wave data from a weather station in Southeast Milwaukee to dynamically control pre-recorded video of my boyfriend and I breathing. Based on the direction of the winds and periods of the waves, we breathe in and out at varying intervals, hold our breaths, fall in and out of sync. Fans are placed around the space, calling attention to relational currents between what we feel and our feelings.

At stake in Sighing Waves is a finer attunement to our own bodies as we relate to external, material forces and a greater awareness of the power and spontaneity in nonhuman agents such as weather and waves.

Previous Next

An ongoing series of macroscopic panoramas that seek to show matter as moving, lively, and spontaneous. With my iPhone and a macro lens, I find and image small moments in nature over time. I then take the images into Photoshop and stretch and enlarge them. Through this process, moments of clarity and abstraction emerge. The imaging process is dialogical – my movements, and the movements of the camera, and the movements of the subjects, come together to co-create the work. I relinquish much of my control as an artist, instead seeking to amplify the agency of my material environments and technologies. This particular series was created in the one block radius around my home in Milwaukee, WI.

Previous Next

In this series, I stretch, enlarge, and resample individual pixels until they become abstract fields of color. Resembling hazy landscapes, the images' resolutions become so poor that digital artifacts begin to look like dots of paint – a mediation of the digital and the material.

Previous Next

Fragmented Self is an interactive installation that allows individuals to navigate and physically engage with my portrait. Within the interaction space, movement of viewer-participants triggers a projected grid of sixteen videos that stretches across the facing wall, each containing a cropped portion of my face. Walking forward and backward, shifting side-to-side, and running across the space, individuals cause my immersive portrait to contort and fall in and out of sync as a computer voice reads a selection of my social media postings. Through their movements, viewer-participants manipulate, uncover, and learn more about me – one digital fragment at a time.

Previous Next

In this installation for UW-Milwaukee’s Arts + Tech Night, four panels of video footage of natural elements were projected onto mounted fabric. At the center of each panel was an assemblage of found materials, taken from the location of their respective videos. Collected sounds from the shooting locations played in an ambient audio soundscape.

With this work, I attempted to highlight nature in a way both human and technologically-mediated. Videos “frame” the abstract conglomerations of found materials, as if precious objects or trophies, yet the cropped and edited videos give a clearer visual picture of the elements themselves. At stake is an attunement to such mediations between the virtual and the actual, and our understandings of our external material environments.

Previous Next

and never the twain shall meet is a woven tapestry that speaks to the ongoing disintegration of conscious interactions between humans and their “natural”, material environments. Broken, custom-glitched photographs of flowers provided the visual inspiration for my work. Constructing the tapestry line by line acted as an inverse action to the glitching I had done previously. My technical processes of continually doing and undoing, and my materials of pixels and yarn, seemed to further reflect themes of disruption and disintegration.

A series of kinetic images (no audio) framing my struggles with anxiety and obsessive-compulsive disorder; I fight to both engage with my external environment and cleanse myself of its residue. This project was an exercise in shooting using DSLR cameras and editing using Adobe Premiere Pro.

Conversations is a multichannel video performance exploring modern communication and the ways we interact with one another. My collaborator Molly Surber and I, the performers, have one-sided conversations using dialogue taken from previous recorded interactions we have had. Technology interrupts our recording, causing stuttering and confusion.

The video frames the degradation of verbal dialogue and memorializes seemingly mundane conversations as important. In doing so, it asks viewers to look introspectively at how modern technologies are affecting their own engagements with one another.

With this work, I use my scanned veins from a biometrics security system to create a four-panel self-portrait that questions, ‘How do systems of authorization view my body and my identity? Is my identity only vein-deep?’

A portrait done using my scanned fingerprints as a tool for mark-making. I consider this a seminal work, inciting my initial interest in portrayals of identity.