Items

• Building Community
  (description and additional photos forthcoming from artist)
• Cuyahoga Impression Audio
• Cuyahoga Impression
  Seven three by seven inch, tightly woven tapestry panels hang from a thin, three-foot-long, rusted steel rod. Each panel is woven in a solid color with thin, white, messy fringe dangling from the bottom of each piece. From left to right, the tapestries are colored in blush, golden ochre, deep coral, blush, blush, deep coral, then blush. Across the panels the shape of a river is exposed through negative space.
• I Wish I Could Yell Louder Audio
• Radically Surrendered Audio
• The Masts Hurt Audio
• Woven Lake
  Woven Lake
• The Masts Hurt
  Hand-sized, fingertip-sized, and finger-sized pieces of a cut-up painting are stacked on thin strips of metal wire around a circle. I took a canvas about the size of my arms stretched out, so about five feet tall and five feet wide and I covered it with yellow paint and then I covered the canvas in one corner with black pain and then I stepped into the paint on the canvas and walked across the yellow and stamped my feet. Then I dripped dots of different shades of blue and purple in various parts of the canvas. And then I expressed frustration and anger with hard strokes of green and pouring the paint directly from a bottle in swirls of black and red and neon orange. On a second canvas, I left the background unpainted and covered the canvas in layers of dots, smudges, swirls, scratches, drips, and scribbles. I then cut up the canvas into pieces the size of my fingertips, fingers, hands, and forearms and broke the painting apart so that it does not anymore tell one story but is many pieces. Then I took thin pieces of wire that are strong enough to stand up straight and I poked them into a circle of foam that is round around, about the size of two hands spread out next to each other, and empty inside the radius, like a crown. And around the radius of the circle of foam I poked the wire pieces in. Then I poked the different sized pieces of canvas onto the wire. The small pieces are poked onto straight thin wires. The wire pieces can still stand although they bend each one differently with the weight of the pieces of canvas they hold. And the different pieces overlap on the wire on top of each other, all facing outwards as much as possible, so you can see the different pieces layered, and so the colors and images can be seen from different views moving in a circle around the sculpture. And so it no longer tells any story, and yet it sort of looks like a ship of masts with no visible ship at all. It has curve, and bend, and movement, because the pieces of the paintings cause the wire to bend. Overlapping pieces of bright and dark colors from a chaotic pattern some sense of calm movement emerges.
• Radically Surrendered
  A portrait of a figure coming into being. The vertical height is about the size of a small person standing with the width of their arms held out. The background of the canvas is not painted so the white is still visible. The layers of paint above are a mix of iridescent and matte colors so the picture has shine. The first layer shows flashes of energy whizzing through. The second layer shows emotions arising in response to feeling scared and out of control shown with smudges, scratches, and marks made by dragging fingers covered in paint across the canvas. The next layer shows the side of a figure without a face whose head is more solid and body is not yet solid. I took a flat piece of silicone that I squeezed paint onto of four or five shades of blue and iridescent purple and I started at the top of the canvas in the middle and pulled back and forth in slow curves so that it creates a shape ultimately of a figure seen from the side, with no differentiation of arms or legs, and the colors shift from solid colors to less and less color so that the figure is translucent and see-through starting at the hips. The top layer of paint on the painting shows elements of nature: water, moon, plants, with paint strokes that are smooth and more balanced. The piece speaks to invisibility, solidity, taking shape, how we form and what forms us, how we morph and what morphs us, future memory and present.
• I Wish I Could Yell Louder
  A series of 4 strips of canvas. To begin I started by laying a canvas as tall and wide as me flat on the ground outside and I was flinging different colors of paint at the blank, unpainted canvas, and then letting the wet paint that I mixed with water, drip, so that I held the canvas vertically, and let the drips fall in different directions across the canvas, by shaking and holding the canvas so that gravity acted on the wet drips. I left the canvas outside in the hot sun and dust for days. Then I cut up the canvas into long strips. Some strips are as tall as a small person. Some strips are as tall as a baby. Each has a blank, unpainted background. On one piece, words are written in black at the top and the words say: "Allow yourself plenty of space to grieve even as you recognize and express gratitude for what remains. Face your grief but remember it is only part of the story." On another different strip, words are written in black at the bottom left corner and the words say: "I was going to paint outside but then the dust and then the fire came so I am inside with a mask on instead." Each of the four strips has bright colors of paint that is smudged, splattered, dripped, thrown, or scribbled onto the canvas. There are also smooth and carefully painted curves and lines and dots made with tiny brushes, drips of paint, and fingertips.
• Dune Fruit audio description
• Dune Fruit
  A painting of two bodies in a fetal position that are enveloped in the halves of a split apple. The bodies are integrated into the pale flesh of the apple by swirling colors. The edges of the apple appear to disintegrate and grow out into the blue sky above, and sand texture below. Layering and radiating lines blur the edges between the bodies, the apple, the sky, and the sand. From the bottom of the apple, a black form shaped like a Hershey’s kiss drips. This black form contains a tree trunk that replaces what would be the stem of the apple. This trunk roots into the black form, filling it and spilling into the surrounding sand. The sand is rendered in contrasting yellow and purple, that at a distance combine to look more muted. In the sky, a black circle is centrally positioned to overlap the apple slightly. This circle radiates inwards to the blackest black that collects just at the crest of the top of the apple. The black forms are distinct at the edges and are in high contrast to the rest of the painting. The bodies are light-skinned and nude. They are painted with the backs visible and heads obscured. It appears to be the same body reflected across the halves of the apple. On the right, the back of the torso is painted with the internal organs and arteries: lungs, kidneys, liver. The organs are painted brightly with small patterns and details. On the left, the body is painted with motion blur. It appears to be caught in a distorted movement that obscures the exact form of the body.
• Disposable Vā Audio
• Pieces of Me Audio
• Upstream Audio
• Perspective
  A sculpture of a looking glass depicted by found objects. The periscope is completely eroded the middle from erosion and exposure to the environmental elements. The form allows for the idea that perspective is formidable from the more than one angle.
• Stuck
  A triangle rock base with question mark shaped wire is holding an orange bead that is unable to reach the top. The bead can move downward, but not upward, symbolizing the struggle of upward mobility within the disabled community.
• Upstream
  An assemblage sculpture depicting a climbing wave of wire. The wire symbolizes upstream water and its impact on the ecology that is downstream. The wire ends in a circular motion to symbolize the importance of water to all living things.
• Pieces of Me
  An abstract representation of beauty and discord found in nature. One oval shaped rock, a round rock and a curved metal piece are arranged together in an a-symmetrical pattern to communicate the balance and irony of finding peace in nature.
• Reason for Concern Audio
• Disposable Vā
  A sculpture of light tan straws arranged in sixteen squares, trimmed in a black frame. In each square, the straws are woven together using Pasefika weaving techniques and layered upon one another in rows of three, sometimes four. Each square faces a different direction causing the straws to jut out in differing ways and sometimes overlap, resembling patches on a quilt.
• What Happens in the Marsh at Dusk
  Nine foot diameter, six foot tall water drop. Constructed out of canvas, PVC pipe, and acrylic paint. The exterior is painted in a stylized interpretation of a water drop. There is a 5.5 ft tall entrance. The interior is painted from the perspective of the marsh lands surrounding the Great Salt Lake, in the distance is Antelope Island painted in the silhouettes of some of the animals that currently live on antelope Island. The Prong-horn Antelope, Plains Bison, Rabbit, Leaf-cutter bee, big-horn sheep, and mountain lion are the featured animals. Great Egrets, Ibis, Western Meadowlark, Yellow-Headed BlackBird, Greater-white bellied Goose, and other birds that migrate to antelope island are featured as well as indigenous flora. The sky is Dusk. There is a river that runs along the majority of the bottom. Sacred geometry underlays the painting, the grass and clouds trace the shapes. The color palate has purple blue undertones in the base with cute pops of color across bird faces, the dusk sky is poppin as it fades from yellow to blue.
• Reason for Concern
• In Memory
  Three abstract shaped rocks are attached to a nail and wood base. All objects are reclaimed. The nails are rusty and worn from exposure. The rocks are all different in shape, but mimic the abstract beauty of trees and nature. The title is a play on words. Earlier in the artist’s life, nature was a source of refuge and safety.
• Reason for Concern
  Four pieces of gray-toned paper are arranged in a grid. Each 8x10” page depicts a flat-color illustration of a plant-like structure. Radial dotted lines connect circles containing biologic imagery, numbers, words, and punctuation points. Upon closer inspection, the paper is made of recycled medical bills, junk mail, and pharmaceutical paperwork: fragmented words and letters are visible, but nearly impossible to decipher.