Going (detail)
       
     
Mirror Man & Naked Man Play Rock Paper Scissors (detail)
       
     
Warren, Echo, Salt: A Sleepwalker's Guide to Georges Island (detail)
       
     
Nothing to See Here, Move Along (detail)
       
     
Mix & LOVE (installation view of performance ephemera)
       
     
Petitions to Poseidon (detail)
       
     
Ovation (detail)
       
     
Water (Detail)
       
     
Jiminy Cricket & Astronaut Reviver (detail)
       
     
Untitled (As of Yet) Limited Edition Confetti Reader (Detail)
       
     
Going (detail)
       
     
Going (detail)

Public Art Installation; 40 Unique Hand-Silkscreened, Cut Luan Boards, Paint, Steel; Dimensions variable; 2017.

Going was a 22-mile long meditation on the paths we make through nature and life, occurring along the Walkill Valley Rail Trail in the Hudson Valley in New York State, in place between June and October of 2017.

Going was a Cultural Crossroads project of Women's Studio Workshop and Chrch Project Space. It received generous underwriting from the Walkill Valley Rail Trail Association; the Walkill Valley Land Trust; the NEA; and NYSCA.

Additional documentation can be seen here.

Mirror Man & Naked Man Play Rock Paper Scissors (detail)
       
     
Mirror Man & Naked Man Play Rock Paper Scissors (detail)

Performance; Handmade Costumes; 2017.

Mirror Man & Naked Man Play Rock Paper Scissors, was a gestural duet about social media echo chambers, performed by Risa Troy and myself at the closing of The Endless and Mobile Beautiful Collapsible Labyrinth installation at Flux Factory in Queens NY, in March of 2017.

I conceptualized the piece as a physical representation of how Facebook's algorithms and interaction options determine the value and meaning of an event for those not present in person.

Additional documentation can be seen here.

Warren, Echo, Salt: A Sleepwalker's Guide to Georges Island (detail)
       
     
Warren, Echo, Salt: A Sleepwalker's Guide to Georges Island (detail)

Custom Printed Map, Drawing, Hand-Silkscreened Shirts; Public Engagement; 2016.

Warren, Echo, Salt: A Sleepwalker’s Guide to Georges Island is a “disorientation guide” to this historic Boston Harbor Island (a part of the National State Park system) produced collaboratively with Caitlin Foley.

The guide is designed to mimic the Harbor Islands' self-guided tour brochures on one side and the brochure for Outside/Inside, the August 2016 festival, which it was part of, on the other. The interior contains drawings and photographs based on specific sites on the island paired with written prompts meant to inspire a dream like immersion in the island's landscape. A nuanced fold/cut aims to provide momentary confusion when refolding the guide.

Additional documentation can be seen here.

Nothing to See Here, Move Along (detail)
       
     
Nothing to See Here, Move Along (detail)

Installation/Performance Art; 12' Velvet Curtain, Chair; 2016.

Nothing to See Here, Move Along is one of several explorations I've made around the idea that the absence of spectacle—or more precisely, drawing attention to the absence of spectacle while also evoking our desire for spectacle—is a radical act, resisting a culture that pushes for ever increasing displays of wealth, technical innovation, etc. in favor of just being with what our bodies and minutes are like when they aren't under scrutiny.

This piece was performed at the Flesh Crisis performance festival in Kansas City, MO in July of 2016.

Additional documentation can be seen here.

Mix & LOVE (installation view of performance ephemera)
       
     
Mix & LOVE (installation view of performance ephemera)

Site-Specific Performance, Engagement, Cooking; Dimensions Variable; 2016.

Mix & LOVE was part of the Fung Wah Biennial which occurred, in transit between New York City, Baltimore, Boston, and Philadelphia in March of 2016. The images of Mix & LOVE seen here are all installation views displaying ephemera from a two-phase performance/engagement piece that occurred as a part of the Biennial. 

The first piece of the project occurred on a bus ride between Boston and New York City, where I touched each person on the bus, including the driver; invited them to dinner; and discussed their food preferences/allergies with them.

The second piece of the project was a dinner party that I hosted in Queens, NYC for the bus passengers and guests, where Will Owen and I cooked personal recipes that he had collected from international asylum seekers living in a shelter in Philadelphia.

I traced the migration through history and geographically of each ingredient involved in the meal in order to spark a dinner table conversation about the myriad subtle ways that the migration of consumer goods and people touches all of our daily lives.

Additional documentation can be seen here.

Petitions to Poseidon (detail)
       
     
Petitions to Poseidon (detail)

Public Art, Performance, Engagement, Glass, Cork, Pens, Maps; Dimensions Variable; 2016.

Petitions to Poseidon invited visitors to the Tiny Tall Ships festival, in Somerville MA to reflect on their fears about living in a region made increasingly vulnerable to flooding by climate change. We offered advising and materials to aid in the creation of poetic letters of petition for delivery (via notes in bottles) to the Greek god of the sea, Poseidon.

Additional documentation can be seen here.

Ovation (detail)
       
     
Ovation (detail)

Site-Specific Interactive Sound and Light Installation; Dimensions Variable; 2015.

An interactive sound and light installation produced in collaboration with Liz Nofziger and featured in the 2015 Illuminus Boston Festival.

Using warm lighting and audio recorded the same week at live concerts by the band Yo La Tengo, Ovation offered everyone the opportunity to feel the swell of enthusiasm that performers like musicians or actors experience when they receive enough cheering and applause to justify an encore or standing ovation.

The piece was set in Boston's famous Fenway Park, and allowed participants to step out onto the field one by one or in small groups.

Though many of us have given this kind of love to performers or athletes, most of us never have this experience ourselves, so Ovation transfers it back. Just once.

Over 1400 people experienced the piece.

Additional documentation can be seen here.

Water (Detail)
       
     
Water (Detail)

Site-Specific Installation; Transcripts of phone conferences, slide projections, interactive video, live and pre-recorded audio, interactive displays, glass, plastic, ceramic, wax, and water; Dimensions Variable; 2015.

WATER, a part of of The People's Museum of Revisionist History, was an amorphous investigation of the world’s most precious resource, based on documentation of convenings that occurred via teleconference in 2015.

WATER spills out of the gallery, into virtual space as well into SPACES' entryway and men's room and includes contributions from poets, fishmongers, oceanographers, sailors and glassblowers.

WATER showcases some poetics of a slippery thing that cannot be contained easily.

It also includes actual (intermingled) water from three different continents and nine American states. Visitors are invited to leave and take water, to immerse themselves and to reconsider the waters in their lives outside of the museum. 

Additional documentation can be seen here.

Jiminy Cricket & Astronaut Reviver (detail)
       
     
Jiminy Cricket & Astronaut Reviver (detail)

Site-Specific Performance; Public Engagement, Cooking; Dimensions Variable; 2015.

In collaboration with a professional cook and musician, Thalia Zedek, I prepared space-station friendly food and coctails at The Boiler Gallery in Brooklyn, NY as a part of MENU FOR MARS SUPPER CLUB's test kitchen series of events.

More details about the event can be found here.

Untitled (As of Yet) Limited Edition Confetti Reader (Detail)
       
     
Untitled (As of Yet) Limited Edition Confetti Reader (Detail)

Conceptual Art/Mixed Media; Writing, Graphic Design; Shredded Paper, Glassine Envelope, Sticker, Custom Designed Stamp, Ink, PDF File; 2013.

n September 2013, I was commissioned to produce a "responsive publication" meant to act as the catalog for an exhibit at Flux Factory in Queens, NY called UNTITLED (AS OF YET). The exhibit, occurring almost a year after Hurricane Sandy, focused on "events that first appear to be disruptive, even catastrophic, but eventually open the door to new thoughts, practices, and opportunities."

Rather than create a traditional catalog, I incorporated the images and interests of the artists involved in the show into a fictional narrative, which was delivered in shredded form (6 5/8" x 4 1/2") and offered as an alternate interpretation of the exhibition's purpose. Unreadable at the exhibition, the limited edition confetti reader was also available in PDF format online, where its particular physical manifestation could be discovered as the conclusion to a fictional narrative rooted in current events.

Additional documentation can be seen here.