May Day, 2020
The Sun Remained Unmoved, 2020
If The Stars Are Also Suns..., Aristarchus!, 2021
Nylon net, plastic net, cotton fiber net, soccer net, window blinds, water based acrylic silk screening ink, Care Work: Dreaming Disability Justice by Leah Lakshmi Piepzna-Samarasinha, gel medium, elmer’s glue, hot glue, pva glue, glow in the dark glue, This Bridge Called My Back Writings by Radical Women of Color, a feminist anthology edited by Cherríe Moraga and Gloria E. Anzaldúa, bubble wrap, Transgender Warriors: Making History from Joan of Arc to Dennis Rodman by Leslie Feinberg, plastic sheets, plastic wrap, plastic bags, Killing Commendatore by Haruki Murakami, cotton twine, extension cords, The Heart of Whiteness: Normal Sexuality and Race in America, 1880-1940 by Julian B. Carter, moving blanket, copper wire, cotton insulation, ratchet strap with no ratchet, Writings for a Liberation Psychology Chapter 1: Toward a Liberation Psychology written by Ignacio Martin-Baro and translated by Adrianne Aron, wire mesh, plastic mesh, window screen, Care Webs: Experiments in Collective Care a workshop led by Leah Lakshmi Piepzna-Samarasinha, packaging tape, masking tape, painter’s tape, The Dispossessed by Ursula K. LeGuin, electrical tape, clothespins, bulldog clips, Abolition Democracy: Beyond Empire, Prisons, and Torture by Angela Y. Davis, bronze lamp base, lamp shade, LED light bulb, artificial sand, Emergent Strategy: Shaping Change, Changing Worlds by Adrienne Marie Brown, wax crayon, soy wax, paraffin wax, Madness and Civilization: A History of Insanity in the Age of Reason by Michel Foucault, headlamp, 2 AA batteries, Brilliant Imperfection: Grappling with Cure by Eli Claire, cardboard, snappers, US census documents, torn envelopes, Ezili’s Mirrors: Imagining Black Queer Genders by Omise’eke Natasha Tinsley, inkjet transfer on hot glue of Absurdity of the Carnival/The Burial of the Sardine by Francisoco Goya, inverted and sanded inkjet print on paper of engraving from The Divine Comedy: Inferno: Canto XIV by Gustave Doré, I Hope We Choose Love: A Trans Girl’s Notes from the End of the World by Kai Cheng Thom, nylon fiber carpet, mylar blanket, inkjet transfer on gel medium of central panel from The Garden of Earthly Delights by Hieronymus Bosch, dried leaves, human hair, dog hair, tennis ball fuzz, dust, dirt, tempura, Staying with the Trouble: Making Kin in the Chthulucene by Donna Harraway, acrylic, a coupon book, magazines, newspaper, paper flyers, used protest signs, The Parable of the Sower by Octavia E. Butler, ceiling fan panels, tarp, cardboard helicopter, Kindred by Octavia E. Butler, a blank greeting card with the image of a dolphin leaping from shimmering waters under a lavender sky, disposable face mask, How to Survive the End of the World a podcast by Autumn Brown and Adrienne Marie Brown, marbles, netted pouch, , Are Prisons Obsolete? by Angela Y. Davis, hand scans of a hardwood floor, ink, Octavia’s Brood: Science Fictions from Social Justice Movements compiled and edited by Adrienne Marie Brown and Walidah Imarisha, puffy paint, pvc pipe, fluorescent pigment
I make portals to Queer Utopia with the leftovers of the colonial dream: trash. I collect my materials as far east as 42nd street, as far west as Cobbs Creek, north to Haverford Avenue, and south to Springfield Avenue.
I am a white, queer (they/them) British-American artist who lives and works in Philadelphia. I was born in Bryn Mawr, PA in 1991. I am drawn to the things my neighbors throw away. I like to pick them up, and put them in my pockets, and take them home, and pull them apart, and touch the parts that held them together, and look for any gaps, or cracks or holes that might lead to somewhere else, and mark the points of entry, and linger on the threshold--