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obsolescence, 2018
installation: 1 X 40 X 60 feet, polymer fibers (~4,200 feet)

Forms for obsolescence were based on the crystallographic structures of Mica and installed on land that previously served as a Mica mine.
Industries built and since collapsed around natural resources, knowledge, and lost languages were considered throughout the construction of obsolescence,
specifically the Mica industry in Appalachia and fiber work in institutions of fine art and higher education.









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sutishadow, 2015
6 X 12 X 24 ft, fence wire, nsulation foam, paint
Installed for rt on the Atlanta Beltline, GA.

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wishing web, 2015
12 X 12 X 80 feet, synthetic polymer baling twine; farm surplus
on Dena'ina Ełnena land, the Musk Ox Farm, Palmer AK

Created while in residence at the Musk Ox Farm (palmer AK), Wishing Web was made of surplus twine from 500+ bales of hay that help feed this herd of once-endangered animals through the winter.
The public is asked to consider ways to support one another through hard seasons, to write and tie these wishes to the installation throughout the summer.












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wet data/work with water 03, 2020
Installed at Arrowmont School of Arts and Crafts



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is falling, 2018
8 X 8 X 12 ft. polymer fibers
Install at the 2018 Governors Island Art Fair, NY; negative space in a suspended knit panel reads 'EVERYTHING'.

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first decade, 2018
7 X 10 X 16 ft., polymer fibers, silk, paper
Installed at Barton College for Beyond Measure, decade uses tension to suspend fragments of handwritten texts digitally printedon silk and paper amongst hand a manipulated knit structure.







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resiliencing, 2017
residential remnants (bricks, wire fencing, glass, wood), plaster, paint, paper,and polymer fibers
Commisisoned by Artspace NC., installed in 2-story lobby in consideration of gentrification.

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aegriess, 2013
5 X 12 X 16 feet; cotton, soil, glass, tar, charcoal, graphite, roofing nails
aegriess was commissioned for Artspace PopUp from 2013-2016, and considers facets of healing; self-implemented, social, and environmental.
Personal experiences were superimposed with the fate of Barbaro, a winner of the Kentucky Derby that shattered a leg in the second race of the Triple Crown.
Barbaro received 27 screws and various additional healing efforts, and was subsequently euthanized eight months after the injury occurred.













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whiteout, 2017
~16 X 30 X 60 ft. found cloth, wire, collaborative projection
Found yardage of cloth was suspended to create an indoor maze of floating walls with varying opacity.
whiteout was installed in an unused retail/warehouse space for a large collaboration in immersive theatre, This is Not a Novel.
The space was lit by a projection of scrolling text, fragmenting across multiple transparent planes, creating pathways to be navigated by participants.











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wisteria, 2016
4 X 6 X 10 ft. and 3 X 3 X 4 ft.
Installed at multiple sites in Ponyride, Detroit, MI of Empoerment Plan's material remnants.

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HASHTAG, 2014
6 X 12 feet
cotton, house paint
HASHTAG was installed as a large webword for Windows on Chapel Hill, NC and then used as a stencil at Krogg Tunnel in Atlanta, GA.
Materializing and stenciling the word 'hashtag' drew a connection between Internet behaviour and physical mark-making of cave painting and graffiti.
These acts are used to claim and reclaim self and territory.

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burnt wept, 2014
2 X 5 X 7 ft., each; polymer fiber, acrylic medium, wood, rocks
burnt (bush) wept (tree) was installed for Case Study in the Raleigh Municipal Building.
'WEPT' is rendered forward-reading and 'BURN' is rendered backward.







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a void, provisions, 2013
9 X 9 X 12 feet; cotton, rabbit skin glue, tar, newsprint, sticks, stones, glass, wax, wire; digital image prints, architectural remnants

Installed for the 2013 Governors Island Art Fair.

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fictitious force, 2013
12 X 14 X 9 feet; cotton, architectural remnants, stones
Installed for the 2013 Governors Island Art Fair.

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sinew/synapses, 2012
16 X 18 X 24 feet; cotton, synthetic nonwoven, rocks, glass, paper, wax

Spinster as spider, self as space, fibers as residual evidence of exorcisms and evolutions, interior as image, sinew and synapses, appropriation for adaptation.

giving up the (ghost glossary), 2011
Installed at Visual Art Exchange, Raleigh, NC.












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spectrum, 2010
varying dimensions; various fibers, 7 minutes single channel digital video projection

Graduate Thesis Project presenting a spectrum of aesthetic and social values as depicted through eight fiber objects in relation to the human body, challenging binary hierarchies.
















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droppings of a mother, 2002
2 X 2 X 8 ft., deflated ball, ball bearings, ink on synthetic polymers, steel wire, soot on glass