A collection of projects.
During the summer of 2018, I collaborated with artist Michael Bernard Stevenson Jr. and the Ethiopian Community in Seattle summer youth program to co-create Between Two Shores. Each week during the summer school program, we worked with the youth to develop interview skills and questions so that they could gather oral histories from community elders. […]
In collaboration with Timothy Firth and artists around Seattle, we are conducting interviews about displacement in Seattle and doing workshops on how artists can work together to be a de-gentrifying force instead of one instrumentalized by developers and the city that contributes to inequitable development.
In the winter of 2018, Tia Kramer and I were selected as a collaborative team to be the artists-in-residence at the Seattle Art Museum Olympic Sculpture Park. During the residency, we developed a multi-faceted project and a participatory performance in collaboration with choreography and somatic therapist Tamin Totzke. We drew inspiration from Tia’s “Short Talk […]
During our residency at Seattle Art Museum Olympic Sculpture Park, Tia Kramer and I created temporary sculptures and a walking tour based on interviews with park employees including the grounds keepers, security guards, and the owner of the bakery located at the park.
The Dead Dad Dining Club is a series of public meals that explore fatherlessness through reenactment and embodiment. Each meal is based on a poetic recipe about a meal that reminded the contributor of their dead or dead-beat father. All recipes were collected and published as a collection of poems in “Dead Dad Dining Club Vol. 1”.
We Are a Crowd of Others was a collaboration with Gail Grinnell and Samuel Wildman where we used our residency at MadArt Studio to weave together an expansive, site-specific installation with a series of public programs which investigated the resonance of hauntings between generations, within sub-cultures, pop-culture, and across time.
In collaboration with Seattle Public Library, I conducted a series of oral histories celebrating voices from Seattle’s vibrant LGBTQ community. From the interviews I directed and animated 5 short films of interviews with muppet-style puppets of the interviewees and stop animations of their stories.
Automatic Messaging Medium was an installation consisting of a toll-free phone message service, wheat-pasted psychic medium advertisements, and a projected hologram of collected pop-culture representations of ghosts. Participants are invited to leave a message for one of their ghosts on the toll-free hotline. Audio of recorded messages plays alongside the video holograms.
In collaboration with Emory Liu, Sonic Decay was a series of audio/visual based experiences focused on Seattle’s DIY music venue history. With Emory’s curation, we created a weekend exhibition celebrating Seattle’s DIY music scene past and present with interviews, photos, maps, performances and a documentary film premier.
Remove All Dads is a collaboration with poet Michelle Penaloza. The installation consisted of a poem displayed next to a series of family portrait coffee mugs with the dad removed using Photoshop’s Content-Aware Fill ®.
A tour of Seattle Art Museum’s collection, where I developed a series of exercises to help participants experience the work emotionally in their bodies instead of with their eyes.
In collaboration with the non-profit Facing Homelessness and Todd Kline, I created a non-figurative portrait of Todd a homeless artist. The final portrait consisted of a wood box containing resin casted rocks Todd gifted me, instructions on how to balance rocks, slides of his paintings, audio recordings of his poems, and a book about the project.
Le Petit Nickel was created as a reference point to continue the conversation around the roles and economics of artists and institutions in our contemporary life. The newspaper only contained classifieds of unpaid opportunities in the arts. Paid interns distributed the newspaper at regional universities with BFA and MFA programs.
Be Vintage was a site specific project set on First Hill in Seattle WA. Using solicited advice from octogenarians in the community, we created a marketable health and lifestyle plan consisting of a web based platform, thematic podcasts, and ad campaign.
The Project Room and Bumbershoot presented a variety show featuring a critical part of the creative process: failure. Mixing humor with artistic disaster, The Failure Variety Show featured rapid-fire presentations by a talented lineup of special guests, followed by the live on-stage reveal of a Rube Goldberg machine Timothy Firth and I created that predicted the future with over 30 transfers of energy.
Originally envisioned as a series of free relational/communication therapy sessions that are bugged, mistranslated, and remixed into videos. For this project I programmed a lolcat translator, text to speech software and Google hangouts to obfuscate the identities of the participants.
Stop animated video created with James Smith for Tacocat’s song “Hey Girl”, a funny and sarcastic attack on catcalling culture.
An installation of tarps representing two distinct nights, the date my father was born and the date he passed away. Each tarp has all of the stars above a certain magnitude in the night sky cut out. Stars that are in constellations were adorned with silver thread.
In collaboration with Devon Midori Hale, we created a large mixed media data visualization by wheat-pasting reclaimed posters from around Seattle. Using a poem by Michelle Penaloza titled, “Patterns of Love in People of Diaspora”, and data from The Seattle Times map, “How Has Your Rent Changed Over Time?” we abstracted our feelings and ideas around the rapidly changing cultural and structural landscape of Seattle’s gentrified Capitol Hill neighborhood.
I </3 NY is a series of meditations destroying souvenirs that celebrated my past. Upon moving back to Seattle from NYC, I constantly struggled with comparing my previous and current lives. In an endeavor to remain present, I forced myself to endure unpleasant acts to create negative associations with that nostalgia. Consequently, each video became an abstraction of my insecurities, fears and anxieties.
An installation in collaboration with Timothy Firth and Foster Turcott in response to Chekov’s pivotal play, the Seagull. For this project we re-contextualized a number of themes in the play, distilling them into a pair of competing forces: idealized perfection vs its inevitable destruction and self-reflection vs the sub-conscious desire.
A collection of encyclopedia volumes altered into pop-up bird field guides about the Passenger Pigeon, a species that went from being one of the most abundant birds in the world to extinction in 1914.
Two site specific sound installations of abandoned and boarded up crawl spaces were created for the Smoke Farm Lo-Fi Arts festival. Together they try to recreate childhood memories of prohibited passages into an underground labyrinth of tunnels, connecting ideas and spaces across great distances. A series of sacred spaces that one could hide away prized possessions/reconnect/bury their past.
Childhood Ghosts was an interactive animation I created using openFrameworks to animate a series of hand drawn frames and openCV to create custom gesture detection algorithms so that the animation would respond to the audience.
An Insurable Disaster was a time-based, participatory project where people tried to create a tower of boxes reaching the height of a four story house. Each box was covered with lists of household inventories required by insurance companies for claims. After each 12′ story was added to the sculpture, the installation was raised and anchored until the wind blew it down.