2021-2022 PORTFOLIO
Featuring seven cyanotype silk squares [45x45”], two short films, a bay leaf, and an acrylic house covered in polaroid lifts and super sauce transfers [16x16x24”], ‘disillusioned’ encapsulates the disillusionment with an era, a process. Repeating the process of emulsion lifts and image transfers created an interest in the types of shadows cast by the two processes. The house, a metaphor and vessel for both the body of the artist and the body of work, allows the images to interact with each others shadows and converge into a larger whole. Silk cyanotype squares serve as an abstraction of the polaroid lift, their eerie movement in the water baths while developing and in the air perfectly emulating the gentle sway of the polaroid lift.
I am always searching for the connections and similarities between photographic processes. The combination of silk and polaroid emulsion and their combined submergence/transcendence in water speak to our shared (human) evolution, that we came from water and crawled out to be something else. This is furthered in the two short films, where I act as the dreamer inside of the acrylic house, wanting to be like water, but ultimately being a mirror.
'there's still fur in the grass'
polaroid b&w i-type emulsion, graphite, glass
2 5x7" plates
'not to me'
image transfer, glass
4 5x7" plates
'the ace vs. the pentacles'
image transfer, glass
3 5x7" plates
'she'
image transfer, graphite, glass
5 5x7" plates
'last years entrance into it'
image transfer, glass
5 5x7" plates
'on soul meshing'
image transfer, glass
4 5x7" plates
'othering an other'
image transfer, glass
4 5x7" plates
'fire confronting the soul'
image transfer, glass
3 5x7" plates
'beacons'
image transfer, glass
5 5x7" plates
'fragments'
polaroid b&w i-type emulsion, graphite, glass
5 5x7" plates
When you start to forget parts of a memory, the pieces you remember drape and fold over themselves and create cacophonies of thoughts. My consciousness was filled with restlessness, eagerness, yearning, with giving myself permission to succumb to double-edged emotions just to make sense of things.
Each plate can be considered a piece of the memory. They must be pieced together again to become a final set. Graphite, polaroid emulsion, and image transfers using DASS Super Sauce allowed the images to drape over themselves, for some of the details to stick too closely and break, and for multiple parts to be analyzed and remembered all at once, similarly to how my own mind processes thoughts.
Jenny Holzer poses confrontational statements to the viewer that confront our mechanisms of society. Her words exist on billboards, skyscrapers, moving vans, bus stops; anywhere the message needs to be seen.
The trans body is a spectacle for a lot of onlookers. The lines separating gender are truly so blurred that everyone has a different perception of my body. These things do not go unnoticed, although they almost always go unsaid. These words are for cisgender people that think they have a good understanding of transhood.
Our dreamer finds themself inside and outside of the veil in this reality. Upon opening a box that unleashes two opposing forces, the threshold tears. The dream takes a turn towards survival as our dreamer hurries to close the box; once closed, it severs the connection between both sides. The force of light returns to its celestial form as it is sealed away, and our dreamer wakes up after the box is confirmed to be closed.
This is a part of an ongoing series of shorts exploring how dreams occur in brief and intersected stills. I seek to describe the realities, worlds, and beings presented to me by my subconscious that I lose access to nearly immediately upon waking. Each sequence explores the echoes of music, faces, and settings in my memories; the butterfly effect’s multiple realities colliding and breaking into each other, with influences from directors such as Alejandro Jodorowsky, Kenneth Anger, and Chris Marker.