Below is a series of 15 works for teaching applications. If additional works are needed, please use my main website.
01
Burned Red
2025
Acrylic, screen print, photocopies, graphite, and matte varnish on dibond
21” by 27”
Burned Red
2025
Acrylic, screen print, photocopies, graphite, and matte varnish on dibond
21” by 27”
02
The Crow
2025
Acrylic, graphite, screen print, marker, photocopy, and matte varnish on dibond
24” by 17”
The Crow
2025
Acrylic, graphite, screen print, marker, photocopy, and matte varnish on dibond
24” by 17”
03
Built by Popular Demand (exhibition view)
2024
Temple Contemporary
Tyler School of Art + Architecture
Built by Popular Demand is an exhibition exploring the palm tree as a symbol of placemaking and utopia. Informed by my research on beach tourism and experience as a project manager in a signage shop, I assert the unstable relationship between the visual and the productive. Working collaboratively with sculpture, print, and craft studies, I make connections between the built-environment and sites of cultural production, revealing undertones of the political in the process.
Built by Popular Demand (exhibition view)
2024
Temple Contemporary
Tyler School of Art + Architecture
Built by Popular Demand is an exhibition exploring the palm tree as a symbol of placemaking and utopia. Informed by my research on beach tourism and experience as a project manager in a signage shop, I assert the unstable relationship between the visual and the productive. Working collaboratively with sculpture, print, and craft studies, I make connections between the built-environment and sites of cultural production, revealing undertones of the political in the process.
04
Built by Popular Demand
2024
Latex print on vinyl, spray painted die-cut corrugated plastic, garden stakes, glue, zip ties, Home Depot and Lowes buckets, synthetic and dying plants, concrete, colored paint, screen printed foam board, screen printed wood, quilted moving blankets with adhesive vinyl, bleached fabric, blown glass vessels, and lighting systems
15ft by 10ft by 13ft (tall)
Built by Popular Demand
2024
Latex print on vinyl, spray painted die-cut corrugated plastic, garden stakes, glue, zip ties, Home Depot and Lowes buckets, synthetic and dying plants, concrete, colored paint, screen printed foam board, screen printed wood, quilted moving blankets with adhesive vinyl, bleached fabric, blown glass vessels, and lighting systems
15ft by 10ft by 13ft (tall)
05
Hot Spots
2024
Woodblock print, found map, flameworked borosilicate glass, burn marks, bakery crate
25” by 21” by 10”
Hot Spots
2024
Woodblock print, found map, flameworked borosilicate glass, burn marks, bakery crate
25” by 21” by 10”
06
Changing Time
2024
Screen print on mylar, dead and synthetic palm frond
36” by 36”
Changing Time
2024
Screen print on mylar, dead and synthetic palm frond
36” by 36”
07
Expanding the Network
2024
Screen print on pink insulation foam, found map, blown glass, flameworked borosilicate glass, saw horses
96” by 35” by 29”
Expanding the Network
2024
Screen print on pink insulation foam, found map, blown glass, flameworked borosilicate glass, saw horses
96” by 35” by 29”
08
Scarring the Earth With Desire (exhibition view)
2024
Skylab Gallery
Columubs, OH
Scarring the Earth with Desire, is a body of work exploring survival aesthetics through research on the entanglements of tourism and climate change in tropical environments. Working with material studios and printed ephemera, the work references ways that image, language, ecology, and production frame perception around survival and leiure through the built environment and exoticized travel. Through abstract thinking and speculative research, this exhibition highlights the slippages between crisis and stability through short-sighted perspectives on destination utopia.
As an artist, I’m interested in the split-difference between perception and reality, and how collage, print, and material sciences can act as a metaphor for the construction, deconstruction, learning, and unlearning of how we think about climate change and leisure. Each of these works pull from research to reimagine and forge new ways of thinking about our role and connection to environmental kinship.
Scarring the Earth With Desire (exhibition view)
2024
Skylab Gallery
Columubs, OH
Scarring the Earth with Desire, is a body of work exploring survival aesthetics through research on the entanglements of tourism and climate change in tropical environments. Working with material studios and printed ephemera, the work references ways that image, language, ecology, and production frame perception around survival and leiure through the built environment and exoticized travel. Through abstract thinking and speculative research, this exhibition highlights the slippages between crisis and stability through short-sighted perspectives on destination utopia.
As an artist, I’m interested in the split-difference between perception and reality, and how collage, print, and material sciences can act as a metaphor for the construction, deconstruction, learning, and unlearning of how we think about climate change and leisure. Each of these works pull from research to reimagine and forge new ways of thinking about our role and connection to environmental kinship.
09
Silicon Time
2024
Installation, blue painter’s tape, latex print on vinyl, photocopies, drawing on tape backed irridescent and survival mylar, drawing on water filled glass vessels, kiln formed glass, quilted fabrics, and painted garden stakes
Variable Dimensions, Approx 120” by 100” by 20”
Silicon Time
2024
Installation, blue painter’s tape, latex print on vinyl, photocopies, drawing on tape backed irridescent and survival mylar, drawing on water filled glass vessels, kiln formed glass, quilted fabrics, and painted garden stakes
Variable Dimensions, Approx 120” by 100” by 20”
10
Attraction
2024
Installation, UV print on tyvek, quilts from printed fabrics and survival blankets, inkjet print on transparency, synthetic plant, mirrored and sandblasted vessel, garden rocks, fishing line, clips, and bamboo fence
Variable dimensions
Attraction
2024
Installation, UV print on tyvek, quilts from printed fabrics and survival blankets, inkjet print on transparency, synthetic plant, mirrored and sandblasted vessel, garden rocks, fishing line, clips, and bamboo fence
Variable dimensions
11
Attraction (detail)
2024
Installation, UV print on tyvek, quilts from printed fabrics and survival blankets, inkjet print on transparency, synthetic plant, mirrored and sandblasted vessel, garden rocks, fishing line, clips, and bamboo fence
Variable dimensions
Attraction (detail)
2024
Installation, UV print on tyvek, quilts from printed fabrics and survival blankets, inkjet print on transparency, synthetic plant, mirrored and sandblasted vessel, garden rocks, fishing line, clips, and bamboo fence
Variable dimensions
12
Pressure
2024
UV print on tyvek with screen print overlay
40” by 54”
Pressure
2024
UV print on tyvek with screen print overlay
40” by 54”
13
Building a T-Rex
2023
Screen printed and laser cut plywood, assembled with brackets, nuts, bolts, and hanging hardward
99” by 72” by 26”
Using basic Adobe software, I scanned the sheets of a wooden 3D dinosaur puzzle. Using image tracing, scaling, and large scale signage production, I recreated the puzzle to a larger than life scale, treating each piece by intuitively screen printing a floral pattern onto it. The result is a sculptural print piece that sits somewhere between a display in a natural history museum and a children’s museum sculpture.
This work draws inspiration to my research on roadside and coastal attractions of strange nature. This includes, the history of larger-than-life monuments that often depict natural history and pop culture as advertising and selling points.
Building a T-Rex
2023
Screen printed and laser cut plywood, assembled with brackets, nuts, bolts, and hanging hardward
99” by 72” by 26”
Using basic Adobe software, I scanned the sheets of a wooden 3D dinosaur puzzle. Using image tracing, scaling, and large scale signage production, I recreated the puzzle to a larger than life scale, treating each piece by intuitively screen printing a floral pattern onto it. The result is a sculptural print piece that sits somewhere between a display in a natural history museum and a children’s museum sculpture.
This work draws inspiration to my research on roadside and coastal attractions of strange nature. This includes, the history of larger-than-life monuments that often depict natural history and pop culture as advertising and selling points.
14
Building a T-Rex (detail)
2023
Screen printed and laser cut plywood, assembled with brackets, nuts, bolts, and hanging hardward
99” by 72” by 26”
Building a T-Rex (detail)
2023
Screen printed and laser cut plywood, assembled with brackets, nuts, bolts, and hanging hardward
99” by 72” by 26”
15
Ezra on the Kitchen Floor
2022
Collaged UV prints on laser cut acrylic
48” by 40” by 0.75”
Using print shop UV printing technology, I created a one-to-one facsimile print of my dog, along with oversized florals, colorful moths, and tile designs that were edited from Home Depot’s online webstore. This work explores queering print shop materials to produce something frivilous from utilitarian media.
Ezra on the Kitchen Floor
2022
Collaged UV prints on laser cut acrylic
48” by 40” by 0.75”
Using print shop UV printing technology, I created a one-to-one facsimile print of my dog, along with oversized florals, colorful moths, and tile designs that were edited from Home Depot’s online webstore. This work explores queering print shop materials to produce something frivilous from utilitarian media.