Taste and Privilege is a site-specific exhibition installed at the Cora Miller at York College in Pennsylvania in the fall of 2017. The exhibition contains works on paper, sculpture, custom-seating, and installation. Through this visual vocabulary the show aims to question the roles of privilege in visual taste and the culture of "good" and "bad" taste. The exhibition is sectioned into "rooms" by color and media, culminating in an installation on the back wall titled "The View". Viewers are invited to sit on custom ottomans to look "out" into the space beyond the interior of the gallery. This piece is intended to bring light to what we consider to be of value in our daily lives, one for most is a view of the outdoors, a space which is free. When buying property or reserving a hotel room, the view often comes at a premium.
The exhibition as a whole dances around the idea of aesthetic taste and the way it forms culturally. Maximal installations and works on paper, as well as sculptural forms and intense color combinations are the primary vehicles for the show.

Mixed media and collage works on paper and sculptural forms made from late 2016- 2017. The paper pieces aim to explore a decorative and maximal aesthetic while employing collage and efficient ways of connecting and folding paper to create organic shaped drawings. The pieces in this category are worked on both sides and then cut and folded to reveal the visual vocabulary on the back. Decisions on compositions are made as more pieces are cut and folded, creating an intuitive process that is rooted in pattern, mark-making, and paper manipulation.
The Sculptural pieces are made with a variety of materials but often include custom patterned fabric that has been cut and manipulated on wood forms with mixed media garlands.

Three-dimensional works on cut paper with mixed media, found objects. Created between 2015 and 2016. This body of works aims to continue my exploration of fusing two and three dimensional works while referencing decoration and the development of abstract spaces.

These exhibitions feature site-specific constructions that combine two and three dimensional mixed media with vibrant collections of paper, textiles, found objects, and digital processes. The work is celebratory and exuberant, expressing the human impulse to push spatial and imagistic boundaries. The vinyl patterns in both installations were created specifically for these spaces and were made from imagery borrowed from previous works on paper using digital collage manipulation processes.

A large supplemental component of my work is to create patterns and new imagery by referencing only my own visual vocabulary. The patterns shown here were created using digital collage processes of previous images of my own work. The product is a self referential new image or pattern that then gets printed on vinyl, fabric, or paper to be used again in sculptural forms and installations.

In 2016 I also started a new series that utilizes many of the same principles as the pattern making but results in a singular image. The still life series is a combination of photography and some digital manipulation. The subject matter for the still life photographs are old artworks, studio props, and materials I often use in my studio.

A series of 2D works on paper that were created through a process of using previous images of my own work, creating digital collages, printing them, and re-working them by hand in a physical way. The works go from digital to physical and back again. Some of this imagery has also turned into patterns that have been printed on custom vinyl and fabric.

Site-specific installation at Hamiltonian gallery in Washington DC during May/June of 2014:
Anything Sacred was an exploration of my celebratory aesthetic combined with formal design elements. The exhibition is an immersive installation with a preponderance of 2D and 3D visual media. The work covered the walls and floors, and was filled with patterns culled and re-mixed from past bodies of work: previously created drawings, paintings and collages were scanned, cut, re-pasted and combined. The result was a temple to visual excess: a colorful, maximal experience that immerses visitors fully in the visual lexicon through painting, sculpture and drawing. A look at self referential imagery and the malleability of meaning once an image is once or twice removed from it's origin.

Various sculptural and installation views from exhibitions between 2012-2014

This category displays soft sculptures in wall hanging formats that reference painting. My interest in the wall hanging stems from ceremonial objects, the traditions of textiles and weaving, as well as decoration and how it operates in interior design. All of these influences speak to the social structures associated with "decoration". The pieces hang on the wall, like a painting, to operate as an object of status.

"All that Glitters" was a site- specific mixed media installation, pictured here both at Katzen Art Center at American University, Washington DC and Harford Community College in Columbia, MD.

"All that Glitters" explores the nature of social and visual hierarchy as determined by the importance of gold. Recycled materials, found objects, tape, and paper mache object were combined with formal design elements to create a space that felt visually overwhelming, yet organized.