The Nonhuman Autonomous Space Agency is an open world speculative research project that proposes a network of robotic and biological systems for exploring the solar system, tied together by exchanges in the material and online attention economies. In recent decades, space exploration has been the heroic imperative of humankind, but this was not always the case. The first Earthlings in space were dogs, monkeys, and rabbits. Offering the opportunity to explore space back to nonhumans reveals new opportunities, risks, and rewards. Would an animal already adapted for life in a weightless medium not be better suited for free fall? What would an intelligent, curious, nonhuman mammal with a twitter account want to see and do in high Earth orbit and beyond? Using robotics and fabrication to create new spatial systems with new affordances for their inhabitants, the Nonhuman Autonomous Space Agency imagines that the future of space exploration and inhabitation might be an adventure for everyone.

This project has been exhibited in a solo show at pinkcomma in Boston, and at Artscape and School 33 in Baltimore.

Pillow Fort Semper was created for the Baltimore Museum of Art in 2016, as an interactive event activity and temporary exhibit in the East Lobby. This project was designed and produced in collaboration with Marian April Glebes.

Since the dawn of time, humans have been rearranging their stuff. Stonehenge, Easter Island, the Great Pyramids, can all be seen as the results of people deciding to move their things around. As soon as couch cushions, chairs, and blankets were available, someone was probably combining these pieces in ways that they were never intended to be combined. People (of all ages) use furniture and fabric to make forts within their homes for a lot of reasons, but most of these boil down to a need find some temporary refuge from everyday life. If the home is a shelter, then the pillow fort is a shelter within the shelter, an interior within the interior. The pillow fort is defensible space, but it is not made of hard warlike materials. Instead it is soft, the comfortable, inviting ordinary stuff of the home is rearranged into new configurations to make new kinds of space. The pillow fort has a whimsical legibility, it reads as both the castle and the couch at the same time, and it invites us to engage with it, to use it, and to remake it. This making and remaking is extra fun with company. Just like in full size home-building (or Stonehenge building), the creation of the pillow fort needs extra hands present, if only to balance the couch cushions while the blanket is draped over the top.

Evergreen Commons was a site specific installation for Sculpture at Evergreen 6: Simultaneous Presence. Designed and built in collaboration with Eric Leshinsky and Ryan Patterson, this was an exercise in urban public placemaking, with work contributed by several Baltimore artists: Gary Kachadourian, Michael Benevento, Lee Freeman, Sarah Doherty, Jonathan Taube, Billy Mode and Services United. This new public space was placed in a dialogue with an existing historic garden opposite, with the grounds of the 19th century estate within which it was situated, and, ultimately, with the city at large.

In the summer of 2010, the artists held regular public events here, with games, music, and food. This project was awarded 'Best Site Specific Work' in the Baltimore City Paper's 2010 annual Best of Baltimore issue.

For more info, see the project website at: http://friendsofevergreencommons.com/

This is an installation for Axis Alley, an open air exhibit in Baltimore, curated by Sarah Doherty in the fall of 09. The lights are solar powered pool floats, they comprise a light detecting diode, a light emitting diode, a small solar panel, and a battery. During the day, they soak up sunlight, at night, they give off a soft blue glow, more atmospheric than functional. Another series of solar powered LEDs was reconstructed from a set of christmas lights. These were taken apart, soldered back together with extra wire, and threaded through the mat of wild vegetation in the yard, forming another network on the ground.

These drawings explore continuous curvature based on a few simple rules about line length, line connections, and degree of change. In each case, a system is developed, and then pushed to its limits or crashed.

This large (14' x 5') wall drawing traces the smooth transition between three regular 2D tiling systems: hexagonal, square, and cairo. These grids are disturbed to form figural disruptions based on geometry from the traces of previous work hung on the gallery wall.

The Voronoi Diagram was codified by the Ukrainian/Russian Mathematician Georgy Voronoi in the early 20th century. It is a method of subdividing space based on a set of input points. The Voronoi diagram can be used to describe almost literally anything - from microscopic organisms to cell phone networks, and it exists at every scale, from cosmic foam to quantum foam. This series is concerned with attempting to draw the Voronoi diagram, usually generated with a computer algorithm, by hand, starting from a number of everyday situations.

Drawings from this series were shown in a group exhibition at the Windup Space in 2010.

This is an ongoing series of drawings, photographs, and digital work, investigating aspects of line, shape, and form.

Work produced for this series was shown as part of BOPA's 'Penned' exhibit at Artscape in 2008.

Writing and research is a vital and active part of design practice, and design teaching. This collection of writing addresses diverse audiences - those interested in popular culture, cities, and design - in academia, in professional disciplines, and in the general public. The topics of this research and criticism center around the intersection of architecture, science fiction, politics, and public space (especially in Baltimore).

A key aspect of this work is spatial practice. Work in other disciplines - research writing, visual art, installation, architecture - feeds into this. This practice is centered around the creation of images that evoke new realities, to help build consensus among collaborative team members, and to aid in creating public audiences.