Laser-cut vellum, cut vinyl, data visualization, 2019.
Stumbling back is a historically-accurate data visualization. Each vellum panel is seared and cut to indicate the exact geolocations (addresses) of Jews taken from their homes in Berlin, Germany and sent to Nazi Concentration Camps during World War II. Small squares indicate the abundance of people taken from one or neighbouring addresses.
Light shines through cut elements from the most densely affected neighbourhoods, representing the loss from those communities but also a beam of hope passing through.
Juror’s Choice Award, Gallery B, “Annual Juried Member’s Exhibition”
Interaction design, Processing, motion capture, live projection, 2019-20.
Collaboration with Billy Harris.
Blending In is a live-interactive projection installation, which can also be seen as a video. Blending In calls upon many cultural and religious influences of my youth. Audiences are invited to interact with the work, altering it with the included Web camera, operated through TouchDesigner.
Inspiration for this work is two-fold, coming from my frustrations with our current heated-political climate; and the rate at which our ecological climate is being altered and depleted by human dependencies on technology. The use of technology to make this work is self-referential, I am critical of my own deepening dependence on technology across my personal and professional lives.
Laser-cut acrylic, 2018.
This work is featured in Vision and Place: John Wesley Powell and Reimagining the Colorado River Basin, UC Press, Oct. 2020.
This work will be archived in the Nevada Museum of Art as part of the Sesquicentennial Colorado River Exploring Expedition (SCREE) Project: www.powell150.org.
On May 24th, 1869, the Colorado River Exploring Expedition stood at the banks of Green River, Wyoming prepared to enter into a region of the United States known only as “unexplored territory.” Uncharted 1-3 is part of a 150-year expedition anniversary re-envisioning of the future of the Colorado River Basin.
The first reconstruction is an interpretation of “Panoramic view of the Temples and Towers of the Virgen;” the second is based on sheet XVII of “The Panorama from Point Sublime in the Kaibab,” both drawn by William H. Holmes; and the third is based on “The Transept." View of a lateral gorge opening into one of the branches of the Bright Angel Amphitheatre in the Kaibab, drawn by Thomas Moran.
STRENGTHENING HUMAN-NATURE CONNECTIONS THROUGH DIGITAL-SCULPTURE RECONSTRUCTIONS OF BIOLOGICAL COMMUNITIES
An interactive and collaborative project including Brandon Gellis, Shelby Shadwell and Thomas Minckley
MicroEcos Series - the culmination of a two-year-long exploration - of is a self-contained exhibition of 3D digital-reconstructions, laser-cut vignettes, and video recordings, created to bring tactile and tangible scientific principles to art and humanities audiences. MicroEcos serves to strengthen and encourage human-nature connections.
MicroEcos a series of 3D reconstructions of the Last Canyon rock shelter site near the Wyoming and Montana border, Little Windy Hill pond site in Wyoming’s Medicine Bow National Forest, and 90' underground in Wyoming's Natural Trap Cave. This series provides audiences with glimpses of two- and three-dimensional historical environments, and create a dialog of how local ecosystems have been formed.
MicroEcos is generally exhibited alongside the Assemblages series.
Juror’s Choice Award: Flora or Fauna 3D-Juried Exhibition, Annapolis Maritime Museum
Juror’s Choice Award: Focal Point Juried Exhibition, Circle Gallery
Biological changes occur naturally across natural landscapes. The Assemblages series explores the heightening of human activity from the start of the industrial revolution (1750) to the present – otherwise referred to as the Anthropocene. Plastics are considered to be the visible start of the Anthropocene and their many applications have proven to be extremely versatile and valuable. Assemblages, created out of acrylic polymer (plastics), acknowledges such natural changes and explores instances brought on by human intervention, which can further accelerate change.
The Assemblages series is a visual celebration of Wyoming’s and the Rocky Mountain West Regions natural beauty. It is a series of reconstruction of Wyoming and Montana’s natural landscapes, created as multi-pane environmental vignettes. By parsing these natural landscapes, I want viewers to see numerous natural elements individually and all at once. The final vignette comes together as a black and white image of the natural scene. The closest pane is inscribed with latitude and longitude coordinates of each field site. Assemblages is each framed in solid North American Poplar.
Images, from top to bottom:
Image 1: Close up of LITTLE WINDY HILL, WY, 41.43N, -106.33W [OBSERVATION I]
Image 2-3: LITTLE WINDY HILL, WY, 41.43N, -106.33W [OBSERVATION I]
Image 4: GREEN RIVER, UT, 38.9956° N, 110.1596° W [OBSERVATION IV]
Image 5-6: ASSEMBLAGES - OF GREAT ACCELERATION
The Assemblages series is generally exhibited alongside MicroEcos.
Popular Extraction is an examination of celebrity, popular culture, and reinvention. What do celebrities do with their time and wealth? How do they reinvent themselves, and why do some celebrities spend time bettering the world while other's party their lives away?
The creation of simple iconic images is used to explore how some celebrities reinvent time and time again. Popular Extraction represents how I feel some celebrities are perceived across popular culture.
Created using Processing and Illustrator, this series seeks to digitally regenerate celebrities in the viewer’s gaze. The use of minimal vector icons to remaster celebrity profiles eliminates a layer of complexity, speaking to the perceived shallow approach of celebrity reinvention. As a series, Popular Extraction aims to create a repetitive visual representation of the aspects of personal reinventions – from Britney Spears to Che Guevara, Sean Penn to George Michaels, and Steve Jobs to Anna Nicole Smith – through a never satisfied, social critical gaze.
