Untitled Bronx II, 2016
Untitled Bronx II, 2016

Wood and Gold Leaf. A mapping of the historically redlined districts of the Central Bronx.
 

A Precarious Obsolescence of Independence, 2014
A Precarious Obsolescence of Independence, 2014

Full size Declaration of Independence transfer in silly putty, foam, dowels. 24.75” x 29.5” x 15” 

A Precarious Obsolescence of Independence, detail
A Precarious Obsolescence of Independence, detail

An actual size Declaration of Independence transferred onto silly putty. A time lapse/ participatory work, the audience is invited to witness and take part in its creation and watch the work slide into disrepair until it is barely recognizable a few hours later.

PBA | Penance Benevolence Association [for those who protect and serve], 2014
PBA | Penance Benevolence Association [for those who protect and serve], 2014

wood and paint, 10’ x 4” x 5”  A recreated church kneeler becomes a place of contrition for New York’s finest. The separation between community and police has become wider than ever and how those in power need to make amends to the communities they are sworn to protect and serve.

Don’t tread on my Aesop, 2014
Don’t tread on my Aesop, 2014

embroidered rubber, axe, wood, copper, tar.  Melding Aesop’s fable of The Snake and the Farmer with the iconic “Dont Tread on Me” Gadsen flag imagery, the work references duality of supposed lessons learned and the armchair revolutionary within the Sisyphean cycle that history cannot escape.

Champertous Connivance, 2014
Champertous Connivance, 2014

Champertous Connivance, Lead eagle feather, lamb’s wool, copper, and tar covered fabric, 24”x 14”x 68”, 2014.

AmericanThe#FREE, 2014
AmericanThe#FREE, 2014

AmericanThe#FREE is a web-based, social media controlled project that allows the Art In Odd Places viewers, the general public, and social media users from around the world to engage the dueling hashtags of #freespeech and #freesnowden in a silent, interactive, yet ultimately lazy freedom of speech protest. The LED light window installation invites the participants to take photos of it, of themselves with it, to share, instagram, and tweet it - allowing for a visual comparison of these two hashtags as a “social media political thermometer”, very much at the core of our First & Fourth Amendment rights.

amerifree (44).jpg
Indivisible, 2012
Indivisible, 2012

Corten Steel, Copper, and 4 leaf Clovers, 10’ x 40’  The American “tin crown”; its status as a global leader is in flux. The work addressing the concept of faux wealth, The ever growing rich/poor divide.I planted a 4-leaf clover patch, only to be seen from the outside.

...With Liberty…, 2013
...With Liberty…, 2013

6” diameter, silver plated wire, vintage quilting pins, eggs

...And Justice for All, 2014
...And Justice for All, 2014

flag, rope, PA speaker playing Beethoven's Symphony No. 9 (Ode to Joy) sung by Sean Paul Gallegos

Conservative Shitstorm, 2014
Conservative Shitstorm, 2014

wire hanger and paint. Commentary on the reversal of women's reproductive rights throughout conservative states in the US.

Come | Undone, 2012
Come | Undone, 2012

recreated child’s bedspring, enamel paint and gold leaf. 62” x 40” A visual representation of my biological clock. The gold leaf fully covered the work and will slowly shed until its gone.

The Promised Land, 2011
The Promised Land, 2011

Pegao (burned rice), bone, horn, mother of pearl, family heirloom bowl, Bowl: 12”x9”x 11”. Rice on floor: 1’ x 12 ‘,

The Promised Land, 2011
The Promised Land, 2011

The “Operation Bootstrap” film archive at El Centro in NYC was a treasure trove of migration propaganda with lures of good pay, health care and education in the US. Old film of workers at the work houses eating rice and beans – the traditional daily meal. I wanted to make the best and worse of something familiar and stable. The pegao, the burnt rice from the bottom of the pot – symbol of status and poverty, in contradiction to The bejeweled arroz con habichuelas – made from mother of pearl, bone and horn. The hope of The American Promise.; Hard work equals success.

‘Round the way, Girl [Cultural Osmosis for the Native Gringa], 2009
‘Round the way, Girl [Cultural Osmosis for the Native Gringa], 2009

foam, enamel paint and gold leaf. , 6.2’ diameter

Permanence of Pain 1100, 2009
Permanence of Pain 1100, 2009

Steel, sliver tissue box, cried on tissues. 14' x 3' x 9.5'

Permanence of Pain 1100, 2007
Permanence of Pain 1100, 2007
Cloud Descending, 2014
Cloud Descending, 2014

 tissues and wire.

Untitled Bronx II, 2016
A Precarious Obsolescence of Independence, 2014
A Precarious Obsolescence of Independence, detail
PBA | Penance Benevolence Association [for those who protect and serve], 2014
Don’t tread on my Aesop, 2014
Champertous Connivance, 2014
AmericanThe#FREE, 2014
amerifree (44).jpg
Indivisible, 2012
...With Liberty…, 2013
...And Justice for All, 2014
Conservative Shitstorm, 2014
Come | Undone, 2012
The Promised Land, 2011
The Promised Land, 2011
‘Round the way, Girl [Cultural Osmosis for the Native Gringa], 2009
Permanence of Pain 1100, 2009
Permanence of Pain 1100, 2007
Cloud Descending, 2014
Untitled Bronx II, 2016

Wood and Gold Leaf. A mapping of the historically redlined districts of the Central Bronx.
 

A Precarious Obsolescence of Independence, 2014

Full size Declaration of Independence transfer in silly putty, foam, dowels. 24.75” x 29.5” x 15” 

A Precarious Obsolescence of Independence, detail

An actual size Declaration of Independence transferred onto silly putty. A time lapse/ participatory work, the audience is invited to witness and take part in its creation and watch the work slide into disrepair until it is barely recognizable a few hours later.

PBA | Penance Benevolence Association [for those who protect and serve], 2014

wood and paint, 10’ x 4” x 5”  A recreated church kneeler becomes a place of contrition for New York’s finest. The separation between community and police has become wider than ever and how those in power need to make amends to the communities they are sworn to protect and serve.

Don’t tread on my Aesop, 2014

embroidered rubber, axe, wood, copper, tar.  Melding Aesop’s fable of The Snake and the Farmer with the iconic “Dont Tread on Me” Gadsen flag imagery, the work references duality of supposed lessons learned and the armchair revolutionary within the Sisyphean cycle that history cannot escape.

Champertous Connivance, 2014

Champertous Connivance, Lead eagle feather, lamb’s wool, copper, and tar covered fabric, 24”x 14”x 68”, 2014.

AmericanThe#FREE, 2014

AmericanThe#FREE is a web-based, social media controlled project that allows the Art In Odd Places viewers, the general public, and social media users from around the world to engage the dueling hashtags of #freespeech and #freesnowden in a silent, interactive, yet ultimately lazy freedom of speech protest. The LED light window installation invites the participants to take photos of it, of themselves with it, to share, instagram, and tweet it - allowing for a visual comparison of these two hashtags as a “social media political thermometer”, very much at the core of our First & Fourth Amendment rights.

Indivisible, 2012

Corten Steel, Copper, and 4 leaf Clovers, 10’ x 40’  The American “tin crown”; its status as a global leader is in flux. The work addressing the concept of faux wealth, The ever growing rich/poor divide.I planted a 4-leaf clover patch, only to be seen from the outside.

...With Liberty…, 2013

6” diameter, silver plated wire, vintage quilting pins, eggs

...And Justice for All, 2014

flag, rope, PA speaker playing Beethoven's Symphony No. 9 (Ode to Joy) sung by Sean Paul Gallegos

Conservative Shitstorm, 2014

wire hanger and paint. Commentary on the reversal of women's reproductive rights throughout conservative states in the US.

Come | Undone, 2012

recreated child’s bedspring, enamel paint and gold leaf. 62” x 40” A visual representation of my biological clock. The gold leaf fully covered the work and will slowly shed until its gone.

The Promised Land, 2011

Pegao (burned rice), bone, horn, mother of pearl, family heirloom bowl, Bowl: 12”x9”x 11”. Rice on floor: 1’ x 12 ‘,

The Promised Land, 2011

The “Operation Bootstrap” film archive at El Centro in NYC was a treasure trove of migration propaganda with lures of good pay, health care and education in the US. Old film of workers at the work houses eating rice and beans – the traditional daily meal. I wanted to make the best and worse of something familiar and stable. The pegao, the burnt rice from the bottom of the pot – symbol of status and poverty, in contradiction to The bejeweled arroz con habichuelas – made from mother of pearl, bone and horn. The hope of The American Promise.; Hard work equals success.

‘Round the way, Girl [Cultural Osmosis for the Native Gringa], 2009

foam, enamel paint and gold leaf. , 6.2’ diameter

Permanence of Pain 1100, 2009

Steel, sliver tissue box, cried on tissues. 14' x 3' x 9.5'

Permanence of Pain 1100, 2007
Cloud Descending, 2014

 tissues and wire.

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