Work samples

  • concrete paver and fieldstones from the series On Summer's Margin (installation view)
    concrete paver and fieldstones from the series On Summer's Margin (installation view)

    Inks made with ground ivy, black walnuts, black cherry bark (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper with flowers from Jessica’s garden

    8.5" x 5.5"

    2023

    *Installation view from the exhibition Par•ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY

    Documentation in late July 2023

  • Flora: Baltimore #6
    Flora: Baltimore #6

    Handmade charcoal and acorn cap ink (made from fallen branches, grape vine, & acorns foraged in Baltimore City) on paper

    44" x 30"

    2021

  • Flora: North Adams, MA #1
    Flora: North Adams, MA #1

    Handmade charcoal from fallen branches & inks made from Northern white cedar seedcones, Eastern hemlock needles, staghorn sumac leaves & drupes, red pine cones, and honey locust seed pods foraged in North Adams, MA, on paper

    10.25” x 7”

    2022

  • tending to
    tending to

    Handmade mineral pigment watercolor, charcoal & ink made from grapevine and fallen branches, inks made from black walnuts, mulberry fruit, sumac drupes, apple bark, English ivy leaves, rose-of-Sharon flowers, fallen leaves & Baltimore's first snow of 2022, on handmade abaca, kozo, cotton, rose-of-Sharon, & white mulberry papers.

    Approx. 52” x 35” (dimensions variable)

    2022

    Drawing media created from botanical & mineral sources foraged in Baltimore City/County.

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About Andrea Sherrill

Baltimore City

Andrea Sherrill Evans (she/her) is an Arizona-born, Baltimore-based artist and educator whose work explores interconnection and resilience within the more-than-human world. Interweaving ideas and materiality, her drawings respond to local ecosystems, seasonal cycles, and changing landscapes. Evans has a long-standing interest in historical drawing mediums and processes, which guides her use of materials ranging from silverpoint and watercolor to handmade inks, charcoal, and… more

View Andrea Sherrill's Resume
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On Summer's Margin

The project, On Summer’s Margin, consists of a series of site-responsive drawings that explore nuanced connections between the local ecology and human activity within the landscape surrounding Mother-in-Law’s, a gallery and property in Germantown, NY. Using a palette of drawing media created with native and introduced plants gathered on site in late May, this work references interwoven natural and built features that dot the land. Images of dry stacked fieldstone, brush piles, and mown paths—rendered on handmade paper with inks derived from black cherry bark, ground ivy, and dandelion flowers—provide a window into the past and present history of the place. Installed throughout the grounds of the gallery, a group of framed drawings remain protected while their unframed counterparts weather under the late summer exposure. Over time, the fugitive quality of this work’s organic matter is heightened, allowing fabricated boundaries between the natural and human world to soften, blend, and fade.

  • On Summer's Margin
    On Summer's Margin

    Handmade inks made with dandelion flowers, ground ivy, black walnuts, black cherry bark, cattails, honeysuckle vines & leaves, spruce cones, flowers from Jessica’s garden, fallen willow branch charcoal, and pieces of worn red brick (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper incorporating cattail fiber and plant materials remaining from the ink making process. 

    Series of 24 drawings, each 8.5” x 5.5”

    2023

    All botanical materials (with the exception of abaca pulp) were gathered on the grounds of Mother-in-Law’s Gallery in Germantown, NY in May 2023.

  • On Summer's Margin (installation view)
    On Summer's Margin (installation view)

    Handmade inks made with dandelion flowers, ground ivy, black walnuts, black cherry bark, cattails, honeysuckle vines & leaves, spruce cones, flowers from Jessica’s garden, fallen willow branch charcoal, and pieces of worn red brick (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper incorporating cattail fiber and plant materials remaining from the ink making process.  All botanical materials (with the exception of abaca pulp) were gathered on the grounds of Mother-in-Law’s Gallery in Germantown, NY in May 2023.

    Selection from a series of 24 drawings, each 8.5” x 5.5”

    2023

    *Installation view from the exhibition Par·ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY.

  • On Summer's Margin (installation view)
    On Summer's Margin (installation view)

    Handmade inks made with dandelion flowers, ground ivy, black walnuts, black cherry bark, cattails, honeysuckle vines & leaves, spruce cones, flowers from Jessica’s garden, fallen willow branch charcoal, and pieces of worn red brick (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper incorporating cattail fiber and plant materials remaining from the ink making process.  All botanical materials (with the exception of abaca pulp) were gathered on the grounds of Mother-in-Law’s Gallery in Germantown, NY in May 2023.

    Selection from a series of 24 drawings, each 8.5” x 5.5”,

    2023


    *Installation view from the exhibition Par·ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY.

  • On Summer's Margin (installation view)
    On Summer's Margin (installation view)

    Handmade inks made with dandelion flowers, ground ivy, black walnuts, black cherry bark, cattails, honeysuckle vines & leaves, spruce cones, flowers from Jessica’s garden, fallen willow branch charcoal, and pieces of worn red brick (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper incorporating cattail fiber and plant materials remaining from the ink making process.  All botanical materials (with the exception of abaca pulp) were gathered on the grounds of Mother-in-Law’s Gallery in Germantown, NY in May 2023.

    Selection from a series of 24 drawings, each 8.5” x 5.5”

    2023

    *Installation view from the exhibition Par·ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY.

  • another brushpile from the series On Summer's Margin (installation view)
    another brushpile from the series On Summer's Margin (installation view)

    Inks made with black walnuts, black cherry bark, a mix of flowers from Jessica’s garden, honeysuckle vines & leaves, and spruce cones (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper with cattail fiber

    8.5" x 5.5"

    2023

    *Installation view from the exhibition Par•ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY

    Documentation in late July 2023

  • another brushpile install weathered_0.jpg
    another brushpile install weathered_0.jpg

    Inks made with black walnuts, black cherry bark, a mix of flowers from Jessica’s garden, honeysuckle vines & leaves, and spruce cones (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper with cattail fiber

    8.5" x 5.5"

    2023

    *Installation view from the exhibition Par•ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY

    Documentation in early September 2023 after drawing was exposed to the elements for 6 weeks

  • decayed clapboard siding from the series On Summer's Margin (installation view)
    decayed clapboard siding from the series On Summer's Margin (installation view)

    Inks made with dandelion flowers, ground ivy, black walnuts, black cherry bark, and a mix of flowers from Jessica’s garden (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper with ground ivy

    5.5" x 8.5"

    2023

    Installation view from the exhibition Par•ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY

    Documentation in late July 2023

  • decayed clapboard siding (weathered) from the series On Summer's Margin (installation view)
    decayed clapboard siding (weathered) from the series On Summer's Margin (installation view)

    Inks made with dandelion flowers, ground ivy, black walnuts, black cherry bark, and a mix of flowers from Jessica’s garden (with color modifiers of alum, vinegar, soda ash, and iron) on handmade abaca paper with ground ivy

    5.5" x 8.5"

    2023

    *Installation view from the exhibition Par•ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY

    Documentation in early September 2023 after drawing was exposed to the elements for 6 weeks

  • fence (in black) from the series On Summer's Margin (installation view)
    fence (in black) from the series On Summer's Margin (installation view)

    Ink made with fallen willow branch charcoal on handmade abaca paper with dandelion flowers

    5.5" x 8.5"

    2023

    *Installation view from the exhibition Par•ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY

    Documentation in late July 2023

  • fence (in black) (weathered) from the series On Summer's Margin (installation view)
    fence (in black) (weathered) from the series On Summer's Margin (installation view)

    Ink made with fallen willow branch charcoal on handmade abaca paper with dandelion flowers

    5.5" x 8.5"

    2023

    *Installation view from the exhibition Par•ley, curated by Field Projects, installed at Mother-in-Law’s, Germantown, NY

    Documentation in early September 2023 after drawing was exposed to the elements for 6 weeks

    •

    • Flora

    Interweaving ideas and materiality, the drawings in Flora explore ecological systems, seasonal cycles, and changing landscapes.  This work is part of a larger practice of developing a relationship with a place by working with the abundance of its plant life.  Using botanical materials carefully foraged in my backyard and neighborhood, along hikes and while traveling, I fabricate inks, watercolors, charcoal, and paper that carry a specificity of location and season.  Experimental studies and tests document an investigation of each material’s characteristics, while intricate renderings of dense vegetation and botanical vignettes reflect and respond to the places of their origin.  Together, these drawings speak to the work of tending to and rebuilding a relationship with the more-than-human world while grappling with and grieving our uncertain future.

    • Flora: Amherst, VA #1
      Flora: Amherst, VA #1

      Handmade charcoal and goldenrod ink (made from fallen branches, grape vine, & goldenrod flowers foraged in Amherst, VA) on paper

      10.25" x 6.5"

      2021

    • Flora: Baltimore #1
      Flora: Baltimore #1

      Handmade charcoal & acorn cap ink (made from fallen branches & acorns foraged in Baltimore City) on paper

      21" x 21"

      2020

    • Flora: Baltimore #2
      Flora: Baltimore #2

      Handmade charcoal & acorn cap ink (made from fallen branches & acorns foraged in Baltimore City) on paper

      22" x 22"

      2020

    • Flora: Baltimore #5
      Flora: Baltimore #5

      Handmade charcoal & acorn cap ink (made from fallen branches & acorns foraged in Baltimore City) on paper

      20.75" x 20.75"

      2020

    • Flora: Baltimore #6
      Flora: Baltimore #6

      Handmade charcoal and acorn cap ink (made from fallen branches, grape vine, & acorns foraged in Baltimore City) on paper

      44" x 30"

      2021

    • Flora: Baltimore #7
      Flora: Baltimore #7

      Handmade charcoal and acorn cap ink (made from fallen branches, grape vine, & acorns foraged in Baltimore City & County) on paper

      44" x 30"

      2021

    • Flora: Amherst, VA #2
      Flora: Amherst, VA #2

      Handmade charcoal and acorn ink (made from fallen branches, grape vine, & acorns foraged in Amherst, VA) on paper

      10.125" x 6.5"

      2021

    • Flora: Amherst, VA #3
      Flora: Amherst, VA #3

      Handmade charcoal and acorn ink (made from fallen branches, grape vine, & acorns foraged in Amherst, VA) on paper

      10.375" x 6.5"

      2021

    • Flora: Amherst, VA #4
      Flora: Amherst, VA #4

      Handmade charcoal made from fallen branches and grape vine with inks made from Osage orange wood, acorns, and pine cones foraged in Amherst, VA on paper

      44” x 30”

      2022

    • Flora: North Adams, MA #1
      Flora: North Adams, MA #1

      Handmade charcoal from fallen branches & inks made from Northern white cedar seedcones, Eastern hemlock needles, staghorn sumac leaves & drupes, red pine cones, and honey locust seed pods foraged in North Adams, MA, on paper

      10.25” x 7”

      2022

    •

    • Handmade Material Studies

    Incorporating handmade inks, watercolors, charcoal, and paper primarily created from botanical sources, these works are equal parts research and play.  Through their presentation in different groupings, the drawings reveal an exploratory process of close observation and learning about the biology, ecology, and histories of different plants and landscapes.  In "tending to" and "this soft world", handmade paper is intertwined with the varied media and markmaking of the drawings, providing not just a surface but a material with a presence and physicality of its own.  With nuance and attentiveness, these studies and experiments speak to the desire to tend to and build a tactile relationship withthe earth while grappling with and grieving an uncertain future due to the global climate crisis.

    • tending to
      tending to

      Handmade mineral pigment watercolor, charcoal & ink made from grapevine and fallen branches, inks made from black walnuts, mulberry fruit, sumac drupes, apple bark, English ivy leaves, rose-of-Sharon flowers, fallen leaves & Baltimore's first snow of 2022, on handmade abaca, kozo, cotton, rose-of-Sharon, & white mulberry papers.

      Drawing media created from botanical & mineral sources foraged in Baltimore City/County.

      Approx. 52” x 35” (dimensions variable)

      2022

    • tending to (detail)
      tending to (detail)

      Handmade mineral pigment watercolor, charcoal & ink made from grapevine and fallen branches, inks made from black walnuts, mulberry fruit, sumac drupes, apple bark, English ivy leaves, rose-of-Sharon flowers, fallen leaves & Baltimore's first snow of 2022, on handmade abaca, kozo, cotton, rose-of-Sharon, & white mulberry papers.

      Drawing media created from botanical & mineral sources foraged in Baltimore City/County.

      Approx. 52” x 35” (dimensions variable)

      2022

    • this soft world
      this soft world

      Handmade mineral pigment watercolor, charcoal ink made from grapevine and fallen branches, black walnut ink, mulberry fruit ink, ink made from fallen leaves and Baltimore’s first snow of 2022, and sumac drupe ink on handmade abaca, kozo, and cotton papers.

      Drawing media created from botanical & mineral sources foraged in Baltimore City/County.

      Approx. 28” x 38” (dimensions variable)

      2021-22

    • Ink Studies
      Ink Studies

      Handmade inks from botanical sources foraged in Baltimore, MD, Amherst, VA, and North Adams, MA

      Approx. 27” x 27” (dimensions variable)

      2020-2022

    • Foraging wild grapes
      Foraging wild grapes

      The artist foraging wild grapes while in residence at The Studios at MASS MoCA in North Adams, MA, 2021.

    • Fallen leaves and first snow
      Fallen leaves and first snow

      Fallen leaves and Baltimore's first snow of 2022 gathered for ink making.

    • Making ink with goldenrod flowers
      Making ink with goldenrod flowers
      Making ink with goldenrod flowers gathered in Amherst, VA at the Virginia Center for Creative Arts in 2021.
    • Staghorn sumac drupe ink study
      Staghorn sumac drupe ink study
      Staghorn sumac drupe ink study, version with soda ash to alter the pH and color, Baltimore, MD 2021.
    • Hand beating Hibiscus syriacus fiber
      Hand beating Hibiscus syriacus fiber
      The artist hand beating Hibiscus syriacus fiber for papermaking at Pyramid Atlantic Art Center, Hyattsville, MD, 2022. The fiber was gathered from plants in the artist's yard and processed by hand.
    • Handmade Hibiscus syriacus paper
      Handmade Hibiscus syriacus paper
      Handmade Hibiscus syriacus paper, plant fiber gathered in the artist's yard and processed by hand, 2022.
    •

    • Invasive

    Invasive documents the transformed – and transforming – landscape of the mid-Atlantic, investigating the ways in which “Nature” and the “natural” shift under the shadow of the Anthropocene.  The 50 postcard-sized drawings of Invasive depict monumental masses of invasive plants blanketing the native landscape along highways in Maryland, Virginia, Delaware, Pennsylvania, and New Jersey.  While perspective and point of view shift across the series of drawings, they are united through linear groupings that connect different locations and moments in time.
    • Invasive #21, 34, 31, & 32
      Invasive #21, 34, 31, & 32
      silverpoint on prepared paper, each 4.25" x 6", 2016-18
    • Invasive #36, 39, 33, & 30
      Invasive #36, 39, 33, & 30
      silverpoint on prepared paper, each 4.25" x 6", 2016-18
    • Invasive #6
      Invasive #6
      silverpoint on prepared paper, 4.25" x 6", 2016
    • Invasive #43, 46, 38, 35, & 14
      Invasive #43, 46, 38, 35, & 14
      silverpoint on prepared paper, 4.25" x 6" each, 2016-18
    • Invasive #26, 13, 12, 18, & 19
      Invasive #26, 13, 12, 18, & 19
      silverpoint on prepared paper, 4.25" x 6" each, 2016-18
    • Invasive #16, 24, 47, 49, & 48
      Invasive #16, 24, 47, 49, & 48
      silverpoint on prepared paper, 4.25" x 6" each, 2016-18
    • Invasive #43
      Invasive #43
      silverpoint on prepared paper, 4.25" x 6", 2018
    • Invasive #17, 20, 10, 1, & 2
      Invasive #17, 20, 10, 1, & 2
      silverpoint on prepared paper, 4.25" x 6" each, 2016-18
    • Invasive #11, 23, 22, & 37
      Invasive #11, 23, 22, & 37
      silverpoint on prepared paper, 4.25" x 6" each, 2016-18
    • Invasive #28, 42, 25, 29, & 50
      Invasive #28, 42, 25, 29, & 50
      silverpoint on prepared paper, 4.25" x 6" each, 2016-18
    •

    • Creeper

    This body of work consists of a series of silverpoint drawings investigating the rampant growth of invasive vines along roadsides and highways throughout the mid-Atlantic.  Due to the nature of silverpoint, a drawing technique dating back to the early Renaissance which uses a piece of silver as a mark-making tool, these drawings vary in temperature and tonal range based on the amount of tarnishing that has taken place in the life of the drawing.
    • Window #1
      Window #1
      Window #1, silverpoint on prepared paper, 14" x 11", 2019.
    • Window #2
      Window #2
      Window #2, silverpoint on prepared paper, 14" x 11", 2019.
    • Window #3
      Window #3
      Window #3, silverpoint on prepared paper, 14" x 11", 2019.
    • Thicket
      Thicket
      silverpoint on prepared paper, 11.5” x 10.75”, 2017.
    • Bosk
      Bosk
      silverpoint on prepared paper, 6" x 6", 2018
    • Overgrowth
      Overgrowth
      silverpoint on prepared paper, 4.25" x 6", 2016
    • Rampant
      Rampant
      silverpoint on prepared paper, 4.25" x 6", 2016
    • Shroud
      Shroud
      silverpoint on prepared paper, 4.25" x 6", 2016
    • Copse
      Copse
      silverpoint on prepared paper, 6" x 4.25", 2016
    • Intertwined
      Intertwined
      silverpoint on prepared paper, 6" x 4.25", 2016
    •

    • Garment for Growth & Portable Plant Studies

    The Garment for Growth and Portable Plant Studies feature an ongoing series of handmade garments and other appropriated wearable structures designed to support and sustain plant life while maintaining maximum portability.  These works suggest hypothetical methods for a more symbiotic and intimate relationship between humans and nature. 


    • Garment for Growth
      Garment for Growth
      Handmade garment (felt, plastic, brass, thread) with potting soil and lettuce, dimensions variable, 2017 (detail shot). Photo documentation of sculptural/performance work
    • Garment for Growth
      Garment for Growth
      Handmade garment (felt, plastic, brass, thread) with potting soil and lettuce, dimensions variable, 2017. Photo documentation of sculptural/performance work
    • Garment for Growth Drawing (Study)
      Garment for Growth Drawing (Study)
      Garment for Growth (Study), silverpoint and gouache on prepared paper, 14" x 11", 2019.
    • Portable Plant Study #1 (Persea americana)
      Portable Plant Study #1 (Persea americana)
      silverpoint and gouache on prepared paper, 14" x 11", 2015
    • Portable Plant Study #2 (Persea americana)
      Portable Plant Study #2 (Persea americana)
      silverpoint and gouache on prepared paper, 14" x 11", 2015
    • Portable Plant Study #3 (Dracaena fragrans Massangeana)
      Portable Plant Study #3 (Dracaena fragrans "Massangeana")
      silverpoint and gouache on prepared paper, 14" x 11", 2015
    •

    • Façade Series

    The watercolor Façade Series examines elements of nature that eke out a living among the concrete and asphalt in our increasingly expanding urban spaces.  Their subjects range from massive vines of English ivy covering a factory building to tiny clumps of crabgrass sprouting up between the cracks of a sidewalk, each suggesting the architectural structures within the city solely through the blanket of vegetation that envelops them.  
    • Factory, Remington
      Factory, Remington
      watercolor on paper, 6" x 6", 2016
    • Sidewalk, Charles North
      Sidewalk, Charles North
      watercolor on paper, 6" x 6", 2016
    • Row House, Hampden
      Row House, Hampden
      watercolor on paper, 6" x 6", 2016
    • Row House, Remington
      Row House, Remington
      watercolor on paper, 6" x 6", 2016
    • Row House, Old Town
      Row House, Old Town
      watercolor on paper, 6" x 6", 2017
    • Row House, Lauraville
      Row House, Lauraville
      watercolor on paper, 6" x 6", 2017.
    •

    • Firewood

    This series of 50 life-size watercolor drawings render pieces of split firewood as they have been carefully, though not always successfully, reassembled. 

    • Firewood #43
      Firewood #43
      watercolor on paper, 10.25" x 10.25", 2014
    • Firewood #40
      Firewood #40
      watercolor on paper, 10.25" x 10.25", 2014
    • Firewood #37
      Firewood #37
      "Firewood #37", watercolor on paper, 10.25" x 10.25", 2014
    • Firewood #36
      Firewood #36
      watercolor on paper, 10.25" x 10.25", 2014
    • Firewood #32
      Firewood #32
      watercolor on paper, 10.25" x 10.25", 2014
    • Firewood #27
      Firewood #27
      watercolor on paper, 10.25" x 10.25", 2014
    • Firewood #23
      Firewood #23
      watercolor on paper, 10.25" x 10.25", 2014
    • Firewood #14
      Firewood #14
      watercolor on paper, 10.25" x 10.25", 2014
    • Firewood #5
      Firewood #5
      watercolor on paper, 10.25" x 10.25", 2013
    • Firewood #1-50
      Firewood #1-50
      watercolor on prepared paper, each 10.25" x 10.25", 2013-15
    •

    • Marker Series

    The Marker drawings investigate the human mark on the landscape and the wild places that are sought in order to reestablish a connection with the natural world.  These trail markers are a rupture in an otherwise seemingly untouched landscape, hinting towards a complex exchange between the natural and built world.
    • Marker #1
      Marker #1
      silverpoint and acrylic on prepared paper, 29.5" x 20", 2012
    • Marker #4
      Marker #4
      silverpoint and acrylic on prepared paper, 29.5" x 31", 2012
    • Marker #5
      Marker #5
      silverpoint and acrylic on prepared paper, 29.5" x 36", 2013
    • Marker #2
      Marker #2
      silverpoint and acrylic on prepared paper, 29.5" x 33", 2012
    • Marker #2 (detail)
      Marker #2 (detail)
      silverpoint and acrylic on prepared paper, 29.5" x 33", 2012
    • Marker #3
      Marker #3
      silverpoint and walnut ink on prepared paper, 29.5" x 23", 2012
    • Marker #6
      Marker #6
      silverpoint and acrylic on prepared paper, 29.5" x 23", 2013
    •

    • Sculptural & Performative Works

    These related sculptural and performative pieces reexamine the habitual ways that we connect to and consume the natural world.  Fragmented pieces of wood severed from their environment are carefully mended and pieced back together with varying levels of success.  While these gestures are bound to fail, they also suggest the possibility of transformation and renewal. 

    • Siblings
      Siblings
      birch and hand-knit wool, dimensions variable, 2011.
    • Coppice
      Coppice
      birch firewood and mixed media, dimensions variable, 2012
    • Woodlot
      Woodlot
      Performance/installation with 1/2 cord firewood and string, 2013. Documentation from "8-Hour Projects: Performativity" at Allegheny College, Meadville, PA
    • Woodlot
      Woodlot
      Performance/installation with 1/2 cord firewood and string, 2013. Documentation from "8-Hour Projects: Performativity" at Allegheny College, Meadville, PA
    • Woodlot
      Woodlot
      Performance/installation with 1/2 cord firewood and string, 2013. Documentation from "8-Hour Projects: Performativity" at Allegheny College, Meadville, PA
    • Woodlot
      Woodlot
      Performance/installation with 1/2 cord firewood and string, 2013. Documentation from "8-Hour Projects: Performativity" at Allegheny College, Meadville, PA
    • Woodlot
      Woodlot
      Performance/installation with 1/2 cord firewood and string, 2013. Documentation from "8-Hour Projects: Performativity" at Allegheny College, Meadville, PA
    • Woodlot
      Woodlot
      Performance/installation with 1/2 cord firewood and string, 2013. Documentation from "8-Hour Projects: Performativity" at Allegheny College, Meadville, PA
    • Making Amends
      Making Amends
      1 hour performance with wood and wool, 2011 Part of "Time Body Space Objects" at Proof Gallery, Boston, MA
    • Making Amends
      Making Amends
      1 hour performance with wood and wool, 2011 Part of "Time Body Space Objects" at Proof Gallery, Boston, MA
    •