This essay is about my process as an Intermedia artist on a path to professionalization.

This project examines the relationship between language and access to comment on class and socialization. While a set of texts function as a baseline, disciplinary distance is formalized by an art installation. I explore the limitations of embodiment through the malleability of a research-based approach.

My work is a representation of my study of the female form in nature. My forms have become an extension of nature and nature has become an extension of the forms. My work represents the beauty and adaptability of the female. Nature has become a decorative camouflage and in turn the form has become a representation of the beauty of Mother Nature.

My pursuit of contributing a clear visual vernacular to the area of environmental education informs my research on contemporary issues surrounding the debate of current scientific findings. This has led me to explore the notion of altering behavior and correcting misconceptions regarding climate science through the presentation of information in haptic form. Parallel to this I will present non-contested scientific processes in a tactile form. Pulling from research in the field of behavioral studies, I apply a systematic approach to integrating scientific information into both haptic and tactile infographics that function based on user engagement. By addressing the misconceptions and presenting the correct information in a manner that is more retainable through interaction, I aim to create a set of educational tools that can by adopted by practitioners of environmental education.

This work explores who we are and what we may become. Essential is a willing suspension of disbelief combined with the freedom to speculate on and invent ethics or experiences that are just emerging and those that have yet to occur, as well as a desire to be cool.

Nanoparticles are too small to be seen with the human eye, so my work Nanoscale brings nanoparticles to the human scale. The shapes of nanoparticles captured through microscopy imaging are appropriated in my specimens. The size of nanoparticles determines their properties and is critical to research and development of products. Across many scales, my work explores the positioning and irregularity of nanoparticles and the unique functions that are achieved only on the nanoscale.

This research-based art project explores the lived experiences of six individuals who commuted to attend their former high schools in Los Angeles, California. The narratives of all subjects were collected as recorded interviews. Extending through disembodied voices to weighty objects and video, this work seeks to open questions of personhood, class, and spaces-between.

I intend to present my work in four parts. The first section will be devoted to the `State of the Studio', a catalogue of sorts, documenting the accumulation of ideas and objects that make up the space where I spend the majority of my time. The second section `This Place', will reflect on the pivotal experiences and relationships outside of the studio that have influenced my thinking. The third section `Get Excited and Make Things' will attempt to synthesize the impact of the space and the place paired with outside influences in order to shed light on my current work. The last section, `I'm Learning and I'm not Afraid', will begin to outline some of my future ambitions as a painter and a maker. The piece as a whole will be constructed in the style of a narrative graphic essay. The document will be littered with personally symbolic drawings that will, hopefully, enhance the text and engage the reader more fully in my world.

This spring I will attempt to drive 14,211 miles between the Pacific Ocean and the Gulf of Mexico, delivering things for people while drawing cursive letters with the help of a global navigation satellite system.

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