Flowers In the Park is a collaboration with artist Quinlyn Johnson commissioned by The Freeway Park Association.
The installation is comprised of one hundred phosphorescent tulips cast from hand sculpted forms that were then planted in a bed of spring blooming bulbs in Freeway Park.
2023
Cast phosphorescent polymer
2023
Cast phosphorescent polymer
2022
Surface is a collaborative installation with Lindsey Champlin, Lalitha Bandaru and Henry Cowdry for Method Gallery.
The Surface installation is an immersive multitiered experience, in which the viewer is bathed in a warm pink light while navigating around the curves and undulations of the structure.
2022
Paper, Acrylic Paint, Wood, Steel
2022
Paper, Acrylic Paint, Wood, Steel
2022
Paper, Acrylic Paint, Wood, Steel
2022
Each cage features a different contortion that the balloon is forced to conform with upon its inflation. The balloons are inflated to almost a bursting point then slowly deflate inside of the cage over time.
2022
Nickel and a Latex Balloon
22”x 16”x 9”
2022
Nickel and a latex balloon.
21”x 2.5”x 2.5”
2021
Nickel and a latex balloon
8”x 2.5”x 2.5”
2019
Created for an exhibit at METHOD gallery in Seattle, the installation Seam was collectively conceived and fabricated by the artist project Second Growth using discarded consumer grade plastics and steel.
Second Growth artists include:
Tonia Arehart, Kite Arner, Lalitha Bandaru, Lindsey Champlin, Sam Kuniholm, Matt Soma and Joe Wilkinson
Photos by Ian Lewis
2019 Plastic, Steel
2019 Plastic, Steel
2019 Plastic, Steel
2019 Plastic, Steel
2019 Plastic, Steel
2019 Plastic, Steel
Latent fingerprints were collected from objects that circulate in and through the environments that I live out each day. Using the fingerprint lifting technique of dusting surfaces with bichromatic powder, the results are then captured with a transparent adhesive strip, then trapped between a result surface. The prints are then transferred onto copper sheet, mounted to hinged arms and arranged to radiate from cranial shaped concentric rings resulting in an apparatus. The purpose of this object is to create a semi-immersive experience that brings into being the evidence of our intertwined experiences.
2016 Copper, nickel, sterling silver Dimensions variable
Collected fingerprints are mounted to hinged arms hanging from concentric rings shaped to fit the human skull creating a veil. This veil portrays the invisible remnants of our coalescing paths with those around us.
Fingerprint detail from The Presence of Absence.
2016 Bichromatic powder on paper Dimensions variable
The prints are grouped as a collection discovered and obtained through methods used by forensic detectives. The prints are a documentation of both process and the captured presence of absence.
(Selected fingerprints from collection)
Using eye tracking software and equipment, retinal activity data was collected from eight individuals who were shown a live video feed of themselves to create gaze plots. Each plot maps the saccade and fixation of an individual’s retina through the duration of the video viewed. These plots were then used to create portraits of a kind.
The data from the recording compiled is used to allude to the invisible remnant of our relationship to ourselves and to each other.
Work title derived from Sleeping in the Forest by Mary Oliver
2016 Video Duration: 10 minutes
The video projects recordings of individual’s retinal movement while they are watching a video of themselves. The retinal registers float and flicker over the footage, allowing the viewer a glimpse into the intimate experience of each documented person.
A composite visualization of the individual's saccades and fixations.
A composite visualization of the individual's saccades and fixations.
A composite visualization of the individual's saccades and fixations.
A composite visualization of the individual's saccades and fixations.
A composite visualization of the individual's saccades and fixations.
Each vessel’s interior is etched with a different constellation-like pattern that is a gaze plot collected from the viewing of three separate videos by the artist. The plots are used as representations of the individuals who are depicted in the videos viewed. Like Grecian amphorae the gaze plots rest like portraits inside of each vessel.
2016 Copper 5 x 5 x 6 inches
The hand raised copper vessel is etched with a gaze plot compiled from the saccades and fixations recorded while the artist viewed a live feed of herself.
2016 Copper 5 x 5 x 6 inches
Detail of gaze plot etched into the interior of Vessel I.
2016 Copper 5 x 5 x 6 inches
The hand raised copper vessel is etched with a gaze plot compiled from the saccades and fixations recorded while the artist viewed a live feed of another individual.
2016 Copper 5 x 5 x 6 inches
Detail of gaze plot etched into the interior of Vessel II.
2016 Copper 5 x 5 x 6 inches
The hand raised copper vessel is etched with a gaze plot compiled from the saccades and fixations recorded while the artist viewed a live feed of another individual.
2016 Copper 5 x 5 x 6 inches
Detail of gaze plot etched into the interior of Vessel III.
Like finger prints each set of objects have a distinct and detailed otherness. The formed copper is meant to emulate leathery skin pocked with pin sized pockets of white enamel.
2016 Enameled Copper Dimensions variable
2016 Enameled Copper Dimensions variable
2016 Enameled Copper Dimensions variable
2016 Enameled Copper Dimensions variable
The repository houses castings of flora native to central Texas. Each species is mounted in correspondence to the celestial map pierced into the walls of the vessel.
2015 Bronze, silver, copper, glass 15”H x 5”W x 5”D
Detail view of Seed Repository of the side lenses.
2015 Graphite on paper 30 X 22 inches
2015 Graphite on paper 30 X 22 inches
Pieces of enameled copper set in sterling silver frames delicately pinned together with sterling silver ball joints, positioned in the likeness of a Positron Emission Tomography scan.
2015 Copper, enamel, sterling silver Dimensions variable
2014 Ink on paper 30 X 22 inches
