I am writing vingnettes from my childhood in a fundamentalist cult and my naive exploration of the outside world after escaping as a young adult. Filtered through the lens of critical race theory, my autobiography will weave these short pieces into a larger work that challenges the tradition of white success stories in American memoir. 

On their surface, Scrolls are a series of short sentences or paragraphs I have written to tell a complete story on a computer or tablet screen. You can click and scroll with a mouse or interact with a touch screen to reveal more text, which can change the meaning of the story at the Scroll’s surface entirely.

When I emerged from the religious cult of my childhood and young adulthood, I had to sift, dig, search, and obsess to uncover the truth as if gradually unrolling an ancient scroll. The interactive Scrolls are a proxy for that first-hand experience as I connect the atrocities of America's past to present-day issues using vignettes of my isolation, Eurocentric indoctrination, and naive exploration of the outside world after my escape.

In this contemporary storytelling medium I use both my photography and my digital photo compositions to illustrate the pages, as well as other graphic art created expressly for the Scroll. Scrolls are both a deconstruction and an expansion of my printmaking work, contextualizing many of the same component images and concepts.

Each work sample is a short video showing how someone might interact with the Scroll, and each includes a link to the interactive artwork.

In this contemporary printmaking series, I invert the significance of Classicism used as an expression of White superiority and socio-economic dominance, using it instead as a way to examine and de-center Whiteness in the American story.  I photograph material culture that sustains a Eurocentric focus in American thought as well as objects and structures to represent the inevitable end of those narratives. I then assemble them into digital compositions using Adobe Photoshop. My final prints are pigment ink on watercolor rag. 

My aesthetic draws on my childhood surrounded by Eurocentrism in sculpture, architecture, and religious illustration that romanticized suffering against a backdrop of nature and antiquity. I also built upon my early exposure to the religious art of the Renaissance, expanding to Thomas Cole's landscapes, d'Hondecoeter's birds, and Hubert Robert's use of ruins as social commentary.