New Work – 2014

This new series of work was created by utilizing John Cage’s principles of chance operation. By throwing pieces up in the air to randomly fall on the press bed and printing them exactly where they land, it allows chance to create the work independent of the artist’s will. The imagery is appropriated from found documentation of dance performances from the 1960’s and other historical imagery that I culled from the Berkeley Public Reference Library.

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Lithographs – 2013

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Psychobuilding Series (2013)
Lithography and chine-collé on paper

Over the past few months I have immersed my practice in printmaking, creating a new series of work utilizing techniques that I learned during my summer fellowship at the Blackburn Printmaking Studio.

During this residency I was drawn to the mediums of lithography and relief combined together with chine-collé. This allowed me to juxtapose imagery of classical modern architecture with performative dance, emphasizing gestural lines and structural severity with embossed relief colors.

I aim to create a dialogue between the framework of this historic architecture and figurative movement, allowing an exchange to develop between the environment and the body, while providing documentation of performances that have yet to take place.

By inducing these two oppositions to connect and encouraging a free interface, the constructs break down into vertigo inducing “psychobuildings” and the dance compositions revel in impossibility, allowing the two to fold together seamlessly. I draw inspiration from the theories of Utopian communities and will continue to explore the vision of an ideal society where people and the environment coexist in harmonious restraint.


Works on Paper

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Avante Garde Magazine Covers (2010)
Silkscreen on paper various sizes

My ongoing series of screen prints seeks to reinvigorate this bygone era when literature and artistic reviews were the primary means by which the creative community exchanged ideas and maintained communication.

In 1915, New York City had become a refuge for European artists seeking to escape the war. During this time period, an abundance of self-published avant-garde publications came onto the scene. A spirit of collaboration was forged when artists banned together like Marcel Duchamp, Beatrice Wood, and Henri Pierre Roché to create magazines such as The Blindman, 291, Little Review, Broom, and Wrongrong which provided an open forum for artists, poets, and writers to display their experimental work.

These publications were radical and provocative- their anarchistic voice still reverberates today. They were forward thinking and decidedly utopian, discarding much of what existed before them to embark on new terrain. Most of the journals were only published once or were discontinued after a few issues. In this ongoing series of silk screens, I have forged the last “final” issue of these magazines that ceased to exist. These counterfeit publication covers reflect the avant-garde vision of their creators and the revolutionary time period in which they were conceived.

Library Intervention

Library Intervention (2009)
Laminated Card, 3″ x 5″


Counterfeit Catalogue Card (Rare and Refreshing Fruit) (2009)
Graphite on paper, 3” x 5”



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Non-Existent Censored Library (2009)
Graphite and paper mounted on laser cut foam, 35” x 58” x 12”

This sculpture was based on a list of books that I was provided by a bibliophile whom I had been introduced to on an internet book lovers website. This individual believed that the government was persecuting him because he had a library of illegal and/ or censored books. When he finally sent me the extensive list 92 of titles and authors, I discovered that none of these books existed. I choose to create this library of “illegal” books that does not exist- in order to bring the fictional into reality.

SILENCE (2010)
Paper, mylar, foam core, and electrical components, 24” x 8” x 9”

I created this sign based on a story I read about the poet Edna St. Vincent Millay. Apparently at her estate in Maine, she maintained a secret library of “books that were inappropriate for women” due to their radical political or sexual content. In front of the hidden library door she placed a silence sign. In homage to her and this magnificent library that she maintained in secret, this piece remains a signifier of a bygone era.



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Stereogram (Bobst Library) Floor (2012)
Silkscreen on Tyvek Mounted to 1000 square foot floor in Fitzroy Gallery, NYC.

As printmaking has become more prevalent in my work, I have attempted to push the boundaries of this medium and utilize it in a non-traditional manner.

One example was Stereogram (Bobst Floor), which consisted of one hundred screen prints on tyvek, tiled and mounted to a 1000 square foot gallery floor space to create a mirage-like trompe l’oeil marble effect. This print was based on the iconic patterned floor of New York University’s main library located on Washington Square Park. The pattern was modeled off of classic Italian marble architecture yet the floor was more known for its troubled history, being the site of several student suicides, which manifested some dark rumors about the nature of its design.

In creating this floor installation, I re-contextualized its history and allowed the viewer’s footpaths to function as an integral element of the artwork as the ink slowly wore away and stood as a record of each visitor’s footsteps.

Action Symphony
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Action Symphony [audience activation] (2012)
Silkscreen on Tyvek, 300 square foot interactive installation at TAPS gallery, Brooklyn.

I was invited to conceive of a performance/ intervention for a small community arts space in Brooklyn, New York.

The venue was a former recording studio so I chose to incorporate this narrative into my piece. I invited local artists and friends to provide me with their fictitious “dream band” names, from which I created fake show posters for these bands and papered them along the inside and outside of the venue. A stage platform was erected in the space and local musicians were invited to play.

Daily events were coordinated, instruments and costumes were loaned and utilized, and the piece was activated through viewer participation. The local community embraced the temporal nature of the performance space and it developed into an open forum for music lessons, children’s parties, book readings, theater group rehearsals, workshops, and lectures, which provided me with a greater understanding of the transformative effect that art has on public spaces.



Triptych (2013)
Mixed Media, 40″ x 35″

I recently completed a very large screenprint triptych for a client in Miami. I used imagery inspired by the nearby marina and created a nautical rope like pattern, which gesticulates across the three paper panels in a brightly colored palette that was requested by the client. I was pleasantly surprised by the results- the work takes on a hypnotic quality as you loose yourself in its motion and expressive patterns appear before your eye.




LOVE HATE (2010)
Engraved plastic door sign, 3” x 8” Edition of 1000.

Tags (six various texts) (2011 – present)
Screenprint on all weather paper tag, 5” x 3” Open Edition.

Engraved Brass Wall Plaques (3 sample texts) (2010)
Brass, 3.5” x 2” Edition of 3

Door Knocker (Knock Me Hard) (2010)
Brass, 3” x 6”, Edition of 3.

Hello (2011)
Screenprint on board, 9” x 6”, Edition of 25.

Leave No Trace (2011)
Screenprint on board, 9” x 6”, Edition of 25.