I am a conceptual artist working in participatory performance, ephemeral events, and immersive installation. I appropriate familiar institutions and rituals—the nomadic library, tech support event, swap meet—often inviting the audience and other artists to co-create with me in a festive space. I document these events through drawings, cyanotypes, photographs, video, and publications.
The hand-embroidered works in Cataclysm (2021) document recently extinct animals on pieces of recycled bed sheets. The making process is slow, careful and therapeutic, contrasting the physical violence and relative speed with which these species were driven to extinction. I started making this work in the context of the pandemic, with a hyper-awareness of human vulnerability and the race against time with the vaccine. Embroidery is traditionally associated with domestic space and women’s work. In the context of a species extinction, I am thinking about this process in terms of care, protection, and habitat management.
UltraViolet Archive (2018-2019) is a nomadic collection of endangered creative works—including films, graphic novels, music, literature, visual and performing arts—that were banned, challenged, or partially censored. Visitors are invited to contribute to research, expanding the archive throughout the duration of an exhibition.
In Unfriend Me Friend (2018), I responded to Facebook’s sale of user data to Cambridge Analytica, hosting a free Facebook Data Download Party. I provided technical support and themed drinks in exchange for participation. Projecting Mark Zuckerberg’s 2018 congressional testimony as a backdrop, I purchased participants’ data for 75 cents—the amount paid by Cambridge Analytica.
In Plums for Trash (2011-2013), I carried a suitcase full of waste between New York City, Bulgaria, Mexico, and Greece to operate a nomadic pop-up shop for the exchange of unwanted objects. Intersecting with existing alternative economies, my participatory work became a form to document the international economic crisis.
By interrupting the routines of dominant culture—censorship, data harvesting, capitalism—I hope to give the audience an opportunity to look critically at the institutions that hold and reinforce power.