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Based in the tradition of painting and drawing, my research engages with contemporary issues such as the recent Confederate Monument debates, the Deepwater Horizon Oil Spill, surveillance, and corporate branding practices. I translate data, objects, experiences, and sounds into abstraction and work within the gaps of what I see and what I feel. Working with traditional and non-traditional materials I exploit the interplay between the handmade and technologies; following my inclination to let ideas, rather than materials, lead my studio work.

Icons and Monuments Series

Knowns and Unknowns Series 


My Eye Proclaims Series & Transitions are Rarely Abrupt II (2014-2017)

Time and Place Redux


Phlox Wide Open Series

Speed at Six Series

Princess to the Rescue Series

Simultaneity Series 

Untitled Series

Polly Eyes: Survelliance and all the detailed, helpful, information


Polly Eyes continues my investigation into the role of corporate brands and branding practices. This installation evolved from a confluence of events. The first was the receipt of paperwork for a class action lawsuit related to recall of Polly Pocket dolls. The dolls were recalled because small children, the target market for the product, were ingesting the tiny magnets built into the dolls.  The magnets would attract one another as they moved through the digestive system and had in some instances perforated the childs bowels. The second event was the unfolding problem with drywall manufactured in China. The drywall was causing a range of health problems for homeowners and the newspaper and radio news were filled with stories of people having to replace their drywall or move out of their homes.   The final event was the launching of TerreStar 1, the world’s largest commercial satellite. TerreStar 1 was designed to permit service, (and tracking) in areas current satellites can’t reach such as urban canyons and areas out of line-of-sight view. Polly Eyes is my latest project that continues the corporate colonization of our environment.


Exhibition History:

Harn Museum of Art

Univeristy of Florida

All the Hot Wheels® My Son Has

My interest in corporate branding led to All the Hot Wheels® My Son Has, seventy-two drawings of Hot Wheels® toy cars installed in a 10’ X 10’ grid pattern on the wall. In front of the wall of drawn cars, was a Hot Wheels® Carrying Case with 72 corresponding Hot Wheels® cars. The Hot Wheels® installation is on one hand a celebration of a passion for collecting and on the other a cultural critique of the impulse. Locating this adolescent passion within the museum/gallery, a pantheon to collecting, permits a larger analysis of cultural consumption and meaning. 

Exhibition History
Roanoke College (WVA)
621 Gallery in Tallahassee
Harn Museum of Art, University of Florida.




Copyright Disney investigated the role of corporate brands and branding practices. This research focused on the role of Disney Corporation in children’s life through their ownership of media companies such as MGM, Touchstone, A+E, Lifetime, ESPN, etc. and in books, toys, clothing, shoes, diapers, etc. Copyright Disney, moved off the surface of the wall and in the hopes of permeating the environment, into the wall itself, emulating the overly saturated childhood world of product placement by colonizing the environment. Working with Disney characters, I carved, embroidered, and spackled Disney images, such as a copyrighted tree or cloud, into existing gallery walls. Inclusion of the copyright symbol acknowledged the ownership of images as the work critiqued our passive acceptance of the brand in our lives.

Exhibition History
SouthBend Museum of Art, IN
Spaces Gallery, OH
Carnegie Melon University

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