Enclosed in a glass cube, in the space of the gallery, as an artistic act of being, in the confined space of the mind. The time of interaction and bodily impulses will be recorded on the cube's inner walls. The cube as a means to reveal the hidden territory of existence, a space of imagination and thought which drives one towards fulfillment through direct participation.

The main topic of the work is water. Intermedial installation consisting of objects and video.

The artist discusses the work in Silly Trip Wires, 2020 his Master of Fine Arts exhibition. The exhibition includes an installation, Silly Trips Wires, and documentation of a smaller site-specific version of the work. The Artist discusses the process of transition from military to civilian, and the potential effects that mental trauma from combat deployments can have on this process. This is tied to an analysis of how communicating the experience of veterans to civilians, through artwork, functions to bring about understanding.

Liminality is a thesis show where I recontextualize my past in the present. It consists ofpieces of artwork that call attention to our memories and how they alter and shape us over time, question family portraiture and show how art can be used for self-discovery and as a catharsis. This paper analyzes myself as an artist, my process, my work in the M.F.A. program and, ultimately, my thesis show.

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The Magnetic Conductions is an installation and performance that deals with memory and how our mind shapes that memory into dreams. It consists of a number of different magnetic tape recorders used as instruments to playback and manipulate a collection of recorded speech, field recordings, found sounds, and instruments. Visual feedback in the form of screens located in the space are affected by the sounds in the room, creating new and distinct visuals as the work progresses.

This text is a written articulation of my MFA thesis show entitled Corporeal Thresholds. It aims to share the poignant moments that inspired the work and contextualizes my practice within the framework of metaphysics and the phenomenology of perception. Specific topics include the body and the visceral, doubt and certainty, love and loss, and the defining spaces that influence our lives.

The word, the corporeal word, the forgotten piece of word, the pause, the breath, the silence_Having said, heard, not at all. Through text, video, sound and installation, this thesis investigates the materiality of language, translation and memory in relationship to words as an attempt to reconfigure a certain inner space. This thesis is a research on the theoretical context and cultural reference of the M.F.A. work. The play between the spoken words (multiple voices within one voice) and the image (body) echoes the geography of survival: moments translated to words, speech translated to body, to image, to void.

As humans, we live in a state of dynamic, conflicting emotions. In moments of pain we experience joy and in moments of joy we have sorrow. In the work that culminates in my thesis show Lovely…, I visually celebrate the contradictions and dynamism of the joy and sadness of life. Just like the word “lovely,” which we may use to describe everything from a wedding ceremony to a funeral service, life is an indefinable experience. It fluctuates, never remaining in one moment or emotion for long. This dynamism creates the complexity of life, the beauty of life, and the path of life. As Joanna Freuh says, “life is sloppy” and, as an artist, I want to celebrate, question, and reveal the sloppiness of our lives. I use my daily life as the main subject of my work to make it honest and accessible. The idea of the work being honest, even painfully so, comes from my desire to be true to my emotions, insecurities, strengths, and intelligence without fear of ridicule or censure from a patriarchal society. By making work that resides within the realm of the everyday, I am attempting to defy and contest masculine censure. In effect, I reclaim my femininity: the quality of being feminine, without the fear of losing strength or respect. Though the autobiographical drives the work and is necessary for it to exist, ultimately it is transcended, enabling the viewer to have his or her own independent relationship to it.