Mandorla, or Wooden Girlfriend II, etchings printed on found textiles, football entrails, posable balljoint appendage made on wood lathe, hardware, oil based etching ink, polyurethane, gouache, rust, 30" x 12" x 12," 2024
Idol/Bludgeon, photo etching and drypoint mounted on wood, cardboard, staples, nails, rust, gouache, oil based etching ink, shellac, polyurethane, 21" x 7" x 2.5," 2024, sold
Laundry Day, cardboard, etching on found textile, collaged monoprint and overprinted etchings, found lingerie and textiles, staples, artist's hair, acrylic gouache, polyurethane, shellac, rust, 35" x 22" x 1.5," 2024
Wallpaper, cardboard, staples, wood strips, counter proof on computer paper, found collage elements, gesso, shellac, rust, 23.5" x 18" x 0.5," 2024
Raise Your Arm From Your Side as if It Were a Wing, etching with found chine collé elements, cardboard, found collage elements, colored pencil, graphite, gesso, 16.5" x 12," 2024
Id, etching printed on cotton, cardboard, colored pencil, acrylic, staples, found collage elements, polyurethane, shellac, 21.5" x 10.5" x 1.25," 2024
Spat, relief, etching, and drypoint on woven paper, colored pencil, oil based etching ink, cardboard, staples, found collage elements, artist's hair, polyurethane, shellac, 15" x 15" x 0.25," 2024
Untitled (reworked wood block), polyurethane and oil based etching ink on carved plywood, 26" x 10.75" x 0.75," 2024
Stings, relief and overprinted etchings on woven paper, colored pencil, cardboard, staples, found collage elements, polyurethane, shellac, 10.5" x 9.5" x 0.5," 2024
Return, drypoint on woven paper, cardboard, staples, found collage elements, artist's hair, polyurethane, shellac, 15.5" x 14" x 0.25," 2024
Effigies II, polyurethane, tempera paint, and oil based etching ink on carved plywood, 16" x 12" x 0.75," 2024
My mixed media print collages deal with what it means to be an object: the body as thing. While a traditional print is at once reproducible and precious, these objects are singular and messy. Each one is a meditation, at once visceral and totemic. They are born from intuition and compulsion: a message in a bottle, a plea, a prayer. Scraps of personal narrative in the form of text, textiles, and bodily refuse are folded into layers of plastic and grime, the personal obscured in a muck of shame. Figurative prints feature in these pieces to varying degrees. The female body is one of the most prolific art historical subjects: it is a default object onto which “art” is projected. Most nudes are not portraits, but studies in possession and desire. In these self-portraits I ask: can one hide behind exhibitionism? Is my body mine, a vessel; or yours, a thing to be witnessed? What does it mean to be both?