I make work about complexity — how nothing is ever just one thing, how context changes what we perceive, and how our understanding of the world is always being assembled from fragments we gather along the way.
Across installations, performance, and drawing, I work with layers and transparency — formally and conceptually — to create visceral experiences that help viewers notice their own noticing. My job is to build the environment; the viewer completes the work. What they bring changes what they see, and what they see changes what they know.
I believe art can do something that argument cannot: hold contradiction without resolving it, make the invisible felt, and remind us that there is always more to know. In the effort to make the world a better place, I aspire to make things that are beautiful, build trust, and approach our differences with curiosity. Change is hard. We need each other to make it possible.
Recent exhibitions and Residencies
Topologies Series
2026, Lucid Art Foundation Residency, Inverness, California
2026, Mercury 20 Gallery, Oakland, “Mapping Time,” curated by Minoosh
2025, Agitator Gallery, Chicago, “Decayging,” curated by Jason Greenberg
2025, Petaluma Arts Center, “Forest Unseen,” curated by Stefan Thuilot
Bio
I always drew — primarily people, because people are fascinating. In college, discovering installation art, I saw a way to let real viewers be the figure in the painting: my job was to create the visual environment and help them notice what they were seeing. This is where my thinking began about complexity, how interaction changes what we perceive, and how each of us knows the world differently based on our experience.
After college I moved to Chicago to explore visual theater, eventually co-founding materials-based Local Infinities Visual Theater with theater artist Meghan Strell. Over seven years we created eleven works using materials as metaphors — dirt for home, water, wax — touring the midwest, Ukraine, and the Netherlands, and winning Most Innovative Theater at the New York Fringe Festival.
In the process, I discovered a method of painting in translucent wax on glass that layers two images, revealing one when front-lit and another when back-lit. I developed these as free-standing interactive installations, and later as the live painted core of The One Truthiness — an eight-year socially-engaged performance series produced by Oakland Poet Laureate Dr. Ayodele Nzinga, incorporating community interviews, live music, and post-show conversation about race and belonging across a diverse East Bay community.
In 2021, after eight years of intense, journalistic work, I was craving space to digest and reflect. I turned back to my foundation: give me a pencil and a piece of paper, and I'll draw you a picture. My interest in complexity found a new form in the branching patterns of trees — works that are still larger than the body, still about layers and fragmentation and how we assemble understanding, but quieter now, and deeply rooted in the material.
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