How does one learn to love oneself, or to love another? What fears and presuppositions get in our way? This work examines in an austere, abstract way what it is to be human.

3D model on archival inket, collage, 2020 20″ x 16″

“The Pull”
Being a parent means being reflected in the eyes of another. Some take this challenge as a chance to do better, some turn away from the scrutiny.

3D model on archival inket, collage, 2020 20″ x 16″

“The Kiss”
Love thy neighbor as thyself. But what if one doesn’t love themself? The consequences are all around us.

3D model on archival inket, collage, 2020 16″ x 20″


The Parthenon in Parts


The Parthenon was built in 438 BCE and dedicated to the goddess Athena. Meant to be a site of religious devotion and belief, contemporary conversation around the Parthenon often revolves around its architecture  as an enduring symbol of ancient Greece. This symbolism is a shortcut in thinking about the Parthenon, a shortcut that simplifies and condenses our understanding of this building. This simplification belies the long storied history of faith, nationality, occupation, loss, contemplation, belief, and awe that is the history of the people of the Parthenon.

This artwork is a simplistic architectural rendering that breaks down the Parthenon further, inviting viewers to ask: what is it that I am missing?


MEDIUM: Digital print onto archival paper; collage, 25″ x 35″, 2019

Promise of Modernity


People often describe the modern as technological, clean, crisp, efficient. Soaring architecture, steel girders, towering offices. What happens to individual narrative in this space? What about the decentralized individuals who don’t have an entry point to what some think of as the pinnacles of modernity? Technology can also be the solution. Messy technology…blockchains of variable value…shared stories told in 280 characters…an option for decentralized access to identity. This piece contemplates the modernity of cities. Built on a serigraph created on a drawing, the digitized projection is efficient in a way the documentation of the installation isn’t.

Detail of installation here.

MEDIUM: Collage on serigraph with digital projection, 2018

Relationship Builder


Jacques Lacan talks about the concept of an infant’s “mirror stage”. The mirror stage refers to the moment when infants recognize their own reflection – something very few animals can do. This moment of self-recognition is the beginning of one of the greatest struggles we have as humans – how do we reconcile our external shell with all of the elements that make up who we are? Lacan has a term “méconnaissance”, which basically is translated as the “misrecognition of one’s own image”. What happens when one feels alienated from that which one represents to the world?

Lacan exhorts us to grieve that chasm. We can never be known to others in the way that we perceive ourselves. Once we have grieved, we are then better able to build our relationships with others.

This series is composed of schematics of relationships that I have with others in the world. Using my own system of symbolism, I’ve charted those that I love in an effort to understand them, and myself, better.

MEDIUM: Repurposed inkjet prints, mixed media collage, 2019



This series focuses on our very limited vantage point from Earth. 

Consumed by the intimate details of life around us, it is hard to remember that we are all bound together, floating through space. From our regional vantage points the stars are so very far away. Using images from NASA spacecraft, I have attempted a meditation on life outside our planet in the hopes that we can find an appreciation for what we have here on Earth.

MEDIUM: Archival print, digital collage, 2017 42″ x 34″

Mechanical Means


“Recreating Utopia Through Mechanical Means” 2014-2017

This is my attempt to use mechanical means to recreate some small measure of an arcadian dreamworld. In drawing with a 3D modeling program I mediate/contemplate/honor/invoke the structures that housed different versions of utopia.

I have started with the hanging gardens of Babylon, interpreting spaces once full of the living. By making my renderings full of light and bright colors I hope to initiate a sense of contemporaneous possibility in those around me now to consider these worlds that others before us attempted to create. Currently dystopian worlds seem to have the favor of popular culture, but I ask that that we dig deep in our collective Jungian subconscious to find that idealism that drove others before us to attempt to create a better, more marvelous world.


MEDIUM: 3D model, archival digital print; collage. 25″ x 36″ 2017