SILT
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With the support of the Anchorage Museum and Polar Lab Artist Residencey in Anchorage, Alaska, Silt is an exploration of Alaskan glacial silt from multiple views of relation. I was born and raised on the banks of the Nenana River before moving to Fairbanks. The river silt is one of my earliest memories of connecting to my environment. I remember the way it would transform my skin into a sparkling part of the river after covering my hands in it. Whenever I have the opportunity to return home, it is still a powerful signifier of the phenomenal place I am from. It is also a swift reminder of the personal, familial, and communal experiences growing up in Alaska that for me and many other Alaskans were powerful, dangerous, and sometimes very tragic. For the people who live there, the natural landscape and the people are inextricably linked, my aim was to approach silt from this perspective.
My process involved a full-body life cast of myself that I filled with silt. The figurative silt sculpture would then be placed where the silt was gathered from and documented as it became a transient, ephemeral part of the environment. As the sculpture is a life-casted replica of my body, visually, it was a vicarious experience of this transformation and relationship with the environment.
AN APOLOGY FOR TAXIDERMY
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An Apology for Taxidermy, which also includes pieces from Consider the Spoonbill, consists of 3d scans of taxidermied Roseate Spoonbill birds, as well as Egrets, from the LSU Nature Science Museum’s colletions. The aim of this project was to explore human’s complicated and precarious relationship with appreciating animals and wildlife, in particular as it is compounded by human destruction of habitat.
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With the support of the Anchorage Museum and Polar Lab Artist Residencey in Anchorage, Alaska, Silt is an exploration of Alaskan glacial silt from multiple views of relation. I was born and raised on the banks of the Nenana River before moving to Fairbanks. The river silt is one of my earliest memories of connecting to my environment. I remember the way it would transform my skin into a sparkling part of the river after covering my hands in it. Whenever I have the opportunity to return home, it is still a powerful signifier of the phenomenal place I am from. It is also a swift reminder of the personal, familial, and communal experiences growing up in Alaska that for me and many other Alaskans were powerful, dangerous, and sometimes very tragic. For the people who live there, the natural landscape and the people are inextricably linked, my aim was to approach silt from this perspective.
My process involved a full-body life cast of myself that I filled with silt. The figurative silt sculpture would then be placed where the silt was gathered from and documented as it became a transient, ephemeral part of the environment. As the sculpture is a life-casted replica of my body, visually, it was a vicarious experience of this transformation and relationship with the environment.
sample of silt materials https://vimeo.com/237832850
AN APOLOGY FOR TAXIDERMY
Presence / Absence
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Presence/Absence , MFA thesis
An acknowledgment of the impact of interpersonal relationships. In it I explore experiences and languages that comprise coexistance such as touch, proximity, loneliness, isolation and longing for connection.
Through the lens of digital 3D scaning I look at tnederness within the context of the limitless void of digital space, devoid of scale, time, or place, andin states of digital deconstruction, to observe more essentially, what complexity and familiarity persists. In turn, I aim to explore the to look more essentially at nterbeing.
The bed is central to Presence/Absence. Its immediate language is a powerful relationship between the signifier and signified. It speaks directly of the body and of bodily experiences from the mundane to the profoundly affecting. With this in mind, I look at the dynamic of Presence / Absence and how the bed can simultaneously speak of the past and present, and of the impact of presence and absence.
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Alaska Botanical Gardens Artist in Residence 2023Garden Moose is a project bringing awareness to the close relationship between Alaskan residents and the Alaska Moose. In collaboration with the Alaska Wildlife Conservation Center, I painted portraits of the moose that find sanctuary at AWCC. The paintings are installed in the wild pathways between garden exhibits at the Alaska Botanical Gardens. To further support the project, I held a stilllife drawing session and invited staff from the AWCC to share region specific information about Moose in the Anchorage area and best practices for cohabitation, especially gardening.
Presence/Absence , MFA thesis
An acknowledgment of the impact of interpersonal relationships. In it I explore experiences and languages that comprise coexistance such as touch, proximity, loneliness, isolation and longing for connection.
Through the lens of digital 3D scaning I look at tnederness within the context of the limitless void of digital space, devoid of scale, time, or place, andin states of digital deconstruction, to observe more essentially, what complexity and familiarity persists. In turn, I aim to explore the to look more essentially at nterbeing.
The bed is central to Presence/Absence. Its immediate language is a powerful relationship between the signifier and signified. It speaks directly of the body and of bodily experiences from the mundane to the profoundly affecting. With this in mind, I look at the dynamic of Presence / Absence and how the bed can simultaneously speak of the past and present, and of the impact of presence and absence.
