news and selected press
Domestic Interventions, Floromancy, 8/2019
Architectural Digest 9/14/2018
Residency at the Women's Studio Workshop, Rosendale, NY, April 2018
Residency at the Joan Mitchell Center, New Orleans, LA, July-August 2017
Exhibition at Staple Goods Gallery, New Orleans, LA, August 2017
A.I.R. Fellowship, 2016-17, Brooklyn, NY
Residency at LMCC Process Space, Governor's Island, NY, April-September 2017
Residency at Wave Hill Winter Workspace, Bronx, NY, February-March 2017
Residency at Artists Alliance Inc, New York, NY, October 2016- February 2107
Residency at the Joan Mitchell Center, April-May 2016, New Orleans, LA
Interior Landszaft, group show at Lesley Heller, New York, NY, runs May 25-July 9, 2016
I’m interested in the ways artifacts accrue meaning. I am particularly drawn to how information is stored and presented, in galleries, homes, and museums, and the shifting values that attach to objects at different times. In this digital age, we are very careful curators of what gets into the shot. But what can be learned by widening the frame? What are the small stories behind the main ones?
My site-specific art practice is a conversation, a collaboration. Through a social and interactive process, I gather scrap materials and ephemera from artists related to the exhibition space. I choose materials that contribute to the making of their work, but in themselves are contingent, worthless, such as to-do lists, dropcloths, sketches, source photographs, old paint tubes. Along with conducting these studio visits, I spend time at the exhibition site, noting the social, architectural, and natural elements that are unique to it. I sweep and clean, peruse what’s in the storerooms and closets, gather trash from the dumpsters. Through small shifts and adjustments on site: scavenged-wood shelving that mimics the dimensions of the windows opposite, snap chalk lines that extend the grids of the tiled floor and acoustic ceiling, a cluster of pedestals taken from storage, I activate the far reaches and hidden corners of the exhibition space. Onto this architectural intervention, I arrange the collected objects into a series of compositions based on color, material, or theme, weaving a tale about the location and its inhabitants. I create an archive of a particular time, place, and group of people, and use the language of museum display and archaeology to elevate these fragments and findings to the realm of high art.
By drawing attention to the framework of presentation as much as to the work itself, I highlight the hidden value systems of social and cultural institutions. My installations explore these systems: of high and low culture, of fine art and decoration, the valued and the valueless, and embody my belief that all of these things, equally, are important to our understanding of the world and our places in it.