Inspired by the internet phenomenon of ASMR (Autonomous Sensory Meridian Response), this series offers a new way to uncover strangely satisfying experiences in everyday moments through hypnotic sounds, textures, and visuals. Through the use of chroma key visual effect technique to superimpose a new background onto an original image. Within this framing, the viewer exists in an unknown spatial plane between real and fictional space. This work is intended to offer new sensibilities for reframing our bodies as interconnected with both the natural and synthetic.

The Air is Plastic offers new sensibilities for reframing our bodies with synthetics. This work presents itself as a sensory experience, welcoming participants to engage with the work through visual, tactile, and auditory experiences. My curiosity about the connection between tactile experiences and my inner state of being has inspired me to consider ways of reframing the body in relation to everyday materials, particularly synthetic materials. I’m not concerned with finding stillness in the tangible space, but rather the potential for the viewer to participate in the well being process. The personal agency in activating the work meets the viewer where they are and subverts the social politics of the gallery. I’m interested in the ways the viewer intercepts, is in-between, and is involved in the production of the work.

In this project, Forces of Nature,  man-made objects are placed into a serene natural landscape - creating imagery that invites the viewer to question their own personal impact on the natural environment.   Like a dance, my body moves with the plastic materials through the landscape with both tension and grace. The transitory nature of plastic creates an antimonumental quality, giving less empowerment to the materials and more power to the forces of nature that move it.

In my ongoing project, My Version of America’s Majestic Canyons, I am altering the pages of a national geographic magazine by cutting, painting, and collaging to emphasize and conceal different parts of the landscape. With the focus of this project being process based, I am intuitively using color and shape to abstract and change the context of the images. This approach has allowed me to create my own meaning out of preexisting landscapes. Through the colors I am mixing with paint, I am directly referencing the color palette seen in my performance based videos.

My process involves actively photographing and cataloging my daily experiences, a scavenger hunt of sorts that fuels my creativity. My photographs form my own library of color, textures, and shapes that can be reconstructed and reworked to create a new story that is oddly familiar yet disorienting. In addition to my own images, I investigate and manipulate found imagery, both digitally and physically.