Solo Exhibition at VAE Gallery (Raleigh, NC)
Solo Exhibition at VAE Gallery (Raleigh, NC)
SOlor Exhibition at Arlington Arts Center (Arlington, VA)
This instillation done for School 33 Art Center's Project Space (2017 Baltimore, MD), was an exploration of interior space and design. I work to understand how we as humans find art objects to be aesthetically pleasing, how we choose to live among them in our homes. We live in a time when we rarely accept appliances that only serve one purpose, which prompts me to investigate how paintings can be multifunctional to highlight the absurdity of convenience. This question of domesticity comes from a curiosity of the curated home space, how the imperfections of home life can be contrasted with the polish of interior design. By paring abstraction with accessibility, I aim to critique these spaces, both the home and where we shop for the home, questioning the commodification of art objects and what that means for the artist. What is the role of the artist in a society with an aspiration to be modern?
If an object starts as a tiny point in space grows slowly into the utilitarian object we know it to be, how can we catch that object the moment before it takes full form to see a more simplified structure?
This instillation was done for the 2017 Young Blood Exhibition at Maryland Art Place (Baltimore, MD). The piece involves two series, one for play and one use (as advised by the former). The objects on the walls are meant to convey function but let the viewer assign the unknown utilitarian aspect, and the object on the floor invites the viewer to just enjoy. The wall painting throws lines onto the wall from a window as if to show the shadows of blinds that do not exist.
This instillation was a combination of works made for the 2017 Janet & Walter Sondheim Semi-Finalist exhibition at Decker Gallery (Baltimore, MD).
This project includes the works done for the 2017 Bethesda Contemporary Art Awards - Trawick Prize Finalist Exhibtion hosted by Gallery B (Bethesda, MD). Split in two mini-instillations, these utilize molding to bring confront the viewer with a moment of space and time. This instillation yielded the 2017 Young Artist Award.
This project details my MICA Graduate Thesis exhibition in Meyerhoff Gallery (Baltimore, MD). The walls were painted with a geometric pattern referencing Design Research. Pink circles took over the space with a serialism that pointed to wallpaper, but the space was hand painted, bringing the instillation back into the realm of mural making and fine art. This cross between spaces aims to bring the view in and out of the realization that they are interacting with art objects.
The yellow piece functions as a futuristic lamp and green piece functions as a reference to a couch, hanging low on the wall but not resting on the floor. Both are made with hand-dyed jersey knits with delicate stitching that references bad upholstery. Wouldn’t any homeowner want something so practical and beautiful?
The conjoining wall to the paintings holds and instillation that consists of three half spheres with protruding faucet taps. From the taps runs a slow steady stream of pink sand that pools on the floor and accumulates throughout the course of the exhibition. The sand is playful, soft, and reminiscent of childhood play. The piece looks to the factory as inspiration for utilitarian fine art objects and points directly to the idea of a desire to have art in the home that functions beyond aesthetic pleasure, yet the function falls short into absurdity.
This project displays an instillation from "Spitting Distance" a Mount Royal School of Art group show (Fall 2016) hosted by MICA's Riggs & Leidy Galleries (Baltimore, MD). Works consist of hand-dyed linens sewn together to create multifunctional paintings and art objects. The walls were painted in a grid pattern to portray an interior space hovering somewhere between a retail display and domestic location.
Each piece is meant to invite viewer interaction. The lamps can be clicked on and off. The faucet piece is one which first started my exploration of functioning water in a painting. Water is pumped up through the faucet from the steel bowl below and is consistently recycled, allowing the viewer to turn the tap on and off at will.
This project is a combination of works made between 2015 and 2017 as studies for larger instillations. These works involved hand-dyed linens and jersey knits sewn together to mimic the painted line. The addition of light pushed me to explore utilitarian function in artwork and forced me to face the oddities of precision and practicality.
This artist has not yet created a curated collection.