The flood (2012) is a recollection of Hurricane Katrina and New Orleans, using "play" as the method through which materials naturally transform without a planned end result. With references to the flood of Florence in 1966, the work stems from the idea of destruction and construction by water. The ability for a common and essential natural substance to have the power to completely transform what exists sparked experimentations in how to convey my particular memories of Katrina, reflective of the life and rebirth of the city. The event itself, through a natural process, becomes the most important aspect of the work as well as what is left after the transformation, the watermark. In the stop-motion film, the spontaneous sequence of images transforms the serious subject of floods and regeneration into an actual play. Done on a single sheet of paper, the erasing and re-drawing of images simulate the reconstructive effect of floods on cities. Everything in the film, from jazz players to shotgun houses and the puppets at Carnival, have their place in representing New Orleans. With the whale being the allegorical representation of the flood, the puppets and jazz players continue to come back, just as the city continues to rebuild after disaster.
Following the theme of Monument/Anti-monument, the project Territory/Anti-Territory explores relations between archaic and contemporary forms of transportation, territorialization, and industrial intervention through a public art installation. Referencing the first Indian settlements along the River Des Peres in University City, the installation consists of four expanded and segmented dugout canoes made of concrete and wood. Using the two portions of bow and hull, two wood molds will be created for each and will be used to caste variations of concrete/wood segments. The pieces will be assembled onto the Wilson Avenue lot as recreational benches, a tribute to the anti-monumental functional object, but also as a monument to the site’s history of de- and re-territorialization. The materials of concrete and wood reflect both the archaic and contemporary methods of construction. They are segmented to signify the constant deconstruction of the site in particular as well as its potential to reterritorialize and retransform the vacant lot, becoming stationary objects of transportation.
Vertebrae (2011), pink stryofoam, plaster, wax polish, coffee
A material study of a rabbit's vertebral column
Commissioned Paintings | Drawings