Work

Flattened and Disorderly 08.18 – 08.28.2016 Presented at BABEL Visningsrom for Kunst, Trondheim. The compact lenses used for lighthouses are ornate objects that seem more suited to Versailles than any functional setting. Based on an optical lens designed at the turn of the 19th century, their rapidly changing shapes developed alongside the progressing science of […]

This 3-D animation recreates a specific class of lighthouse lenses invented in France during the 19th century and implemented throughout the United States in places like the Alcatraz penitentiary. Known as Fresnel lenses after the French engineer and physicist Augustin-Jean Fresnel, they demonstrate Fresnel’s new theorization of wave optics and the behavior of light, yet visually present as ornate, baroque objects, varying endlessly from one case […]

Emulating a film noir style, this series depicts the adjustment brackets on the back of plastic chaise lounges found at many swimming pools. I reproduced these objects in wood and enamel and photographed them on mirrors with fog machines. Reworked as weapons, the brackets mimic both waves and blades, with the photographs printed on metal […]

Cast in concrete, these pieces reiterate the historical sign of the stigmata in broken and crumbling segments, supported on thin wooden joints. The sculptures are distributed throughout each space through the logic of reanimated and wandering parts, straying from their original formation as if independently conscious. In Holy Wounds, using the circular design representative of […]

Carried out over the course of two weeks, Something to Locate Yourself With marks the distance from the La Fragua residency to my home in San Francisco, in an attempt to ground my dislocation within a new place. The mosaic reads: 5822 mi. from home.  

Using Photoshop as a digital form of stonemasonry, I carve apart these stones that were once part of the boundary between the former monastery of Santa Clara and the remainder of the nearby town of Belalcázar. By reducing this stone from a heavy obstruction to a flattened, two-dimensional image, I attempt to dismantle its symbolic role marking […]