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My interest in the history of craft as it relates to women and craft in the context of contemporary art led to a more specific personal curiosity about colonial stitched samplers. The incredible skill and patience young colonial stitchers exhibited, layered with the revelatory nature of stitched samplers, sparked a desire to understand them more thoroughly. This thesis is a hybrid product that includes both writing and research about my interest in colonial stitched samplers, craft and contemporary art, as well as ongoing work on three stitched samplers inspired by both colonial schoolgirl samplers and contemporary artists whose work builds upon the tradition of the stitched sampler.

I aim to depict alternate realities built by human error and misunderstanding as they apply to the natural world and natural systems. They are alternate realities informed by (mis)observation; both my own and that of others; individual figures both historical and fictitious that in some way embody the desire (and often failure) to shape and understand the world around them. These figures are in many ways stand-ins for myself, as well as my own artistic practice, and in telling their stories I seek to illuminate failure, futility, and imperfection, in their most poignant, beautiful, and absurd expression. Borrowing specific and obscure instances in human and natural history and themes from science, literature and myth, I strive to reproduce these mutable realities as narrative etchings and drawings, which combine visual clarity and readability with a high density of minute linear detail. Drawing is a form of translation and a form of labor, a means of synthesizing numerous, seemingly disparate topics. It is an attempt to bridge a gap, fill the space between perception and what is perceived. Through the labor of my hand, science and fiction, history and fabrication crowd onto a single page, the narrative and the encyclopedic exist side by side, become equal and indistinguishable. I seek to act as a translator and moderator between complexly layered histories and you, the viewer.

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.