Installation
Golden Doodle Puppies For Sale
Postcard and Poster
Title Screen
Projection. Sourced Golden Angel, Ribbon, Paper, Acrylic Paint.
Made in collaboration with Andrew Vickery, whom I shared my senior show space with.
Biblical Woman
2’ x 3’ Masonite Board. Highlighted Bible passages, found/sourced buttons, candles, glass mosaic tiles.
Testament of Womanhood
2’ x 3’ Masonite Board. Quilting fabric, red thread, clothespins, twine, lace, jute rope.
Source of Comfort
4’ x 4’. Recycled doiley, red satin ribbon, gold tacks.
Is This Gentle Enough
9’ x 4’ x 1’. Handbuilt earthenware ceramic, low-fire glaze, varied glass beads, red velvet.
Other Projects
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Seperation (2022), polymer clay, india ink, and spout. The main question asked by this piece is when do we separate the being from the flesh? Exploring the desensitization to animal slaughter and processing.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Plight of the Common Couch (2021), installation at Padnos Recycling Center. This exhibit was the effort of myself, Sam Arnone, Samuel James, and Andrew Vickery to depict the struggle of class in the Grand Rapids furniture strike of 1911.
Cookie Scarab (2021), clay and high-fire glaze. Unfortunately cracking on the last firing this cookie jar scarab has two compartments, one underneath the shell and one hidden in the body. Copper hollow wire legs have since been added on but not documented.
Cookie Scarab (2021), clay and high-fire glaze. Unfortunately cracking on the last firing this cookie jar scarab has two compartments, one underneath the shell and one hidden in the body. Copper hollow wire legs have since been added on but not documented.
Cookie Scarab (2021), clay and high-fire glaze. Unfortunately cracking on the last firing this cookie jar scarab has two compartments, one underneath the shell and one hidden in the body. Copper hollow wire legs have since been added on but not documented.
Cookie Scarab (2021), clay and high-fire glaze. Unfortunately cracking on the last firing this cookie jar scarab has two compartments, one underneath the shell and one hidden in the body. Copper hollow wire legs have since been added on but not documented.
Cookie Scarab (2021), clay and high-fire glaze. Unfortunately cracking on the last firing this cookie jar scarab has two compartments, one underneath the shell and one hidden in the body. Copper hollow wire legs have since been added on but not documented.
Cookie Scarab (2021), clay and high-fire glaze. Unfortunately cracking on the last firing this cookie jar scarab has two compartments, one underneath the shell and one hidden in the body. Copper hollow wire legs have since been added on but not documented.
Cookie Scarab (2021), clay and high-fire glaze. Unfortunately cracking on the last firing this cookie jar scarab has two compartments, one underneath the shell and one hidden in the body. Copper hollow wire legs have since been added on but not documented.
Untitled (2021), twine and embroidery hoops on a fallen tree. Made in collaboration with Sam Arnone, seeking to bring attention to the viewpoint of the wildlife by making yourself go down to their level to see through. Being able to photograph the disintegration of the installation throughout the years makes it look more and more naturally placed rather than meticulously wrapped.
Untitled (2021), twine and embroidery hoops on a fallen tree. Made in collaboration with Sam Arnone, seeking to bring attention to the viewpoint of the wildlife by making yourself go down to their level to see through. Being able to photograph the disintegration of the installation throughout the years makes it look more and more naturally placed rather than meticulously wrapped.
Untitled (2021), twine and embroidery hoops on a fallen tree. Made in collaboration with Sam Arnone, seeking to bring attention to the viewpoint of the wildlife by making yourself go down to their level to see through. Being able to photograph the disintegration of the installation throughout the years makes it look more and more naturally placed rather than meticulously wrapped.
Untitled (2021), twine and embroidery hoops on a fallen tree. Made in collaboration with Sam Arnone, seeking to bring attention to the viewpoint of the wildlife by making yourself go down to their level to see through. Being able to photograph the disintegration of the installation throughout the years makes it look more and more naturally placed rather than meticulously wrapped.
Untitled (2021), twine and embroidery hoops on a fallen tree. Made in collaboration with Sam Arnone, seeking to bring attention to the viewpoint of the wildlife by making yourself go down to their level to see through. Being able to photograph the disintegration of the installation throughout the years makes it look more and more naturally placed rather than meticulously wrapped.
Untitled (2021), twine and embroidery hoops on a fallen tree. Made in collaboration with Sam Arnone, seeking to bring attention to the viewpoint of the wildlife by making yourself go down to their level to see through. Being able to photograph the disintegration of the installation throughout the years makes it look more and more naturally placed rather than meticulously wrapped.
Untitled (2021), twine and embroidery hoops on a fallen tree. Made in collaboration with Sam Arnone, seeking to bring attention to the viewpoint of the wildlife by making yourself go down to their level to see through. Being able to photograph the disintegration of the installation throughout the years makes it look more and more naturally placed rather than meticulously wrapped.
Untitled (2021), twine and embroidery hoops on a fallen tree. Made in collaboration with Sam Arnone, seeking to bring attention to the viewpoint of the wildlife by making yourself go down to their level to see through. Being able to photograph the disintegration of the installation throughout the years makes it look more and more naturally placed rather than meticulously wrapped.
Untitled (2020), polymer clay, wire, fabric, acrylic paint, eyelashes, sourced butterflies. Made to explore the workings of polymer clay and the basics of figure sculpting, the figure is positionable and the dress is hand-stitched.
