Climas Malsanos, 2025        
solo exhibition            
Creative Alliance Main Gallery            
Baltimore, MD      
curated by Joy Davis ; photos courtesy of the artist             
     
Terrestrial Caravan, 2023            
solo exhibition            
Academy Art Museum            
Easton, MD            
photos by Mehves Lelic, Hoesy Corona, Alexander D'Agostino 

The Shrinking Lagoon, 2025       
site specific installation    
Museum of Contempoary Art Arlingont - Innovation Studios  

Arlington, VA

Alien Nation, 2017 
Hoesy Corona 
Hirshhorn Museum and Sculpture Garden 
Washington, DC

Shadow/Casters curated by Victoria Reis | Transformer DC 
photo by Andy DelGiudice 
 

EARTH MOTHER BLOOM, 2022
solo exhibition
Friends Artspace
Arlington, VA

curated by Margaret Bakke


photos by Ethan Hickerson | Margaret Bakke 

WAYFARING, 2022
solo exhibition
The Nicholson Project 
Washington, DC


Photos by Anne Kim Photo | The Nicholson Project | and Hoesy Corona

WEATHERING, 2021-2022
solo exhibition
The Kreeger Museum
Washington, DC

photos by Anne Kim Photo | The Kreeger Museum | The Nicholson Project 
 

Climate Immigrants (2017–present) is an ongoing site-specific installation and performance project that examines climate-induced global migration and its disproportionate impact on communities of color. Engaging the intersecting forces of the climate crisis, immigration, and U.S.-centric xenophobia, the work foregrounds bodies in motion as both lived experience and political symbol. In the project, performers wear custom-made Climate Ponchos adorned with imagery referencing the archetypal traveler. These garments operate as protective and performative objects, evoking displacement, survival, and visibility while positioning the body as a site of environmental and political inscription. Through public presence and movement, the work destabilizes distinctions between citizen and migrant, insider and outsider. Climate Immigrants expands dominant narratives of immigration by reframing climate-triggered displacement as a shared and emergent global condition. By implicating all bodies within this unfolding crisis, the project critically engages xenophobic ideologies and addresses one of the most urgent social and environmental challenges of the present moment.

In the ongoing series White Constructions (2016–present), the artist investigates the deliberate construction of race within U.S.-centric systems of power. The work critically examines how racial hierarchies in North America have been strategically produced, positioning whiteness as a dominant and normative identity. The series employs a tightly controlled material vocabulary, consisting solely of the word “white” rendered in vinyl and applied to transparent substrates including clear film, glass, and plastic. This material restraint underscores language as a primary mechanism through which racial ideology is produced and sustained. The use of clear surfaces reflects the often invisible yet structurally pervasive nature of whiteness, allowing it to operate as both presence and absence within the visual field. Through these minimal interventions, White Constructions invites sustained institutional and public engagement with race as a social construct, foregrounding its ongoing consequences for communities of color and its entrenchment within broader cultural, political, and historical frameworks.  

 

Mother Death Life Mama (2012–present) is an ongoing performance and sculptural series that examines human mortality and the existential uncertainties surrounding death. The work engages fear of the unknown through an exploration of humanity’s complex and often fraught relationship with the natural world. Positioning Mother Nature as both origin and endpoint, the series collapses boundaries between life, death, and regeneration. Through embodied performance and sculptural form, the project situates mortality within cycles of care, loss, and transformation, prompting reflection on how cultural narratives shape our understanding of existence and impermanence.

Scapegoats (2012–present) is an ongoing sculptural project that engages themes of societal othering, indoctrination, and devotion through a meditative and poetic visual language. The work examines how systems of belief and social conditioning produce scapegoating as a normalized practice, particularly in relation to queer bodies and identities. Within the project, the Scapegoat functions as a central deity figure, embodying mechanisms of blame and shame as both internalized behaviors and subconscious processes. This figure represents the ritualized sacrifice of individuals within a community whose existences are marked as deviant or expendable. By framing scapegoating as a form of devotion, the work interrogates the cultural structures that sustain exclusion and violence. In Scapegoats, the deity is depicted in a state of rest within a protected and affirming environment. This reimagining disrupts narratives of perpetual punishment and loss, offering an alternative visual framework in which social castaways are afforded safety, dignity, and a reconfigured sense of triumph.