My sculpture brings natural materials into the gallery space, reassesses their forms, and calls for consideration of  human impact on the environment. The natural materials are collected by hand at each specific site and all steel sculpture is fabricated by me to investigate themes of claim, women's labor and permanence.

This year I worked with teams of scientists, indigenous tribes, geologists, lawyers, activists, and community members on issues surrounding a mine in Maine/Passamaquoddy land. I was invited by Smithereen Farm in Pembroke, Maine to create large scale artworks using 20,000 rock core samples to support their Maine Clean Water campaign. Close to Canada, five surrounding towns and two reservations depend upon clean water for their economy, health, & environment. The body of artwork was exhibited at The Kreeger Museum, Hamiltonian Gallery, MICA, and Alchemy of Art Gallery in 2022 and will travel for the next two years to sites including Stand4 Gallery (Brooklyn) and University of Southern Maine (Portland). 

My installations are site specific explorations that examine the tenuous, dynamic relationship between nature and humanity. Viewers physically navigate their path and their connections to nature in site specific installations that incorporate sculpture, video, and sound. 

My land artworks explore humanity's interruption of the land through writing, installation works, performance art, and video. Over the past two years, a series of three land art works were created on a section of Maryland's Patuxent River managed by a dam, evidence that the earthworks will disappear when the dam reopens. The artworks were submerged like many of the Mid-Atlantic prehistoric petrogyphs that were destroyed for hydroelectric projects. The public's view from the bridge transformed the digging process into performance art. A written and spoken word piece accompanies the series. A 28-page book (long form poem) will be published in 2023 by Akinoga Press based on these works. 

Four environmental performance artworks,  supported by a grant from The Puffin Foundation, explored humanity's movement around nature. The performances focused on themes of indigenous lands, wildfires, and invasive species.  

Two new large scale land art research projects also began in 2022: the Maine Mine Core Project and Washington College's Solo Exhibition "Pry" with indoor and outdoor installations opening in January 2022. 

To extract rock cores, mines clear 30 feet of trees to insert a 5" wide steel pipe for mechanical operations. These works on paper conceptually tie rock to paper, two critical natural resources. Pigments were made using crushed and ground rock cores, mixing them with DC tap water and natural binder, and juxtaposing them with rocks mixed with calcium hydroxide (lime), the primary chemical mines use for extractions. 

After bearing witness to the catastrophic impact of mining on land, photography became the most impactful format of documenting and narrating humanity's interruption of nature. Digital silver prints were created to emphasize the irony of using mined silver connected to using this format. 

Writing is a critical aspect of my artistic process. From making lists to verse, written word serves as a companion to the themes of my sculptural work as I source local materials.  After publishing in numerous international literary journals, my poetry collection was published by Baltimore-based Akinoga Press and translated into an audiobook.  In 2020, I was honored to be a Writer-in-Residence with Baltimore's Yellow Arrow Publishing.