Here for You

2023
12” x 12”
Split fountain screen print on 290gsm Coventry Rag
Edition of 25

Here for You

2023
12” x 12”
Split fountain screen print on 290gsm Coventry Rag
Edition of 35

Just as you are

2021-2022
18.5” x 13” x 1.5”
Ash, Cherry, Ebony, Paduak, Sapele, Maple, Plywood

Just as you are

2021-2022
18.5” x 13” x 1.5”
Ash, Cherry, Ebony, Paduak, Sapele, Maple, Plywood

Just as you are

2021-2022
18.5” x 13” x 1.5”
Ash, Cherry, Ebony, Paduak, Sapele, Maple, Plywood

Slide Clock

2019

The Slide Clock encourages the user to reframe their relationship to the alarm. The playful action of setting and turning off the alarm serves as a simple ritual to bridge the shift between the sleeping and waking states. In contrast to the often maligned phone alarm, the interaction calls for physical presence, IRL. The clock further punctuates the user’s day with moments of wakefulness by doubling as a meditation timer.

Slide Clock

2019

The Slide Clock encourages the user to reframe their relationship to the alarm. The playful action of setting and turning off the alarm serves as a simple ritual to bridge the shift between the sleeping and waking states. In contrast to the often maligned phone alarm, the interaction calls for physical presence, IRL. The clock further punctuates the user’s day with moments of wakefulness by doubling as a meditation timer.

Slide Clock

2019

The Slide Clock encourages the user to reframe their relationship to the alarm. The playful action of setting and turning off the alarm serves as a simple ritual to bridge the shift between the sleeping and waking states. In contrast to the often maligned phone alarm, the interaction calls for physical presence, IRL. The clock further punctuates the user’s day with moments of wakefulness by doubling as a meditation timer.

Slide Clock

2019

The Slide Clock encourages the user to reframe their relationship to the alarm. The playful action of setting and turning off the alarm serves as a simple ritual to bridge the shift between the sleeping and waking states. In contrast to the often maligned phone alarm, the interaction calls for physical presence, IRL. The clock further punctuates the user’s day with moments of wakefulness by doubling as a meditation timer.

Is Where I Was

2018
16” x 20”
Inkjet prints on archival cotton paper

Is Where I Was

2018
16” x 20”
Inkjet prints on archival cotton paper

Deconstructed Self

2018
8” x 10”
Laser cut paper, mirrored acrylic

Deconstructed Self

2018
8” x 10”
Laser cut paper, mirrored acrylic
detail

Lost Space

2018

Though not unique to Philadelphia, masonry stars are an architectural detail that hold a definitive place within the canvas of the city. Masonry anchors of varying shapes can be found throughout the older cities and villages of Europe, and the tradition has continued in the states in places where aging brick walls are in need of reinforcing. Somewhat inconspicuous and unassuming in size, to the common eye their function is often secondary to their aesthetic, and the star motif used in America’s birthplace tips this asymmetry even further, by consciously or unconsciously echoing the imagery of the country’s flag.

And yet the shape of the star is more universal still, appealing to the deepest reaches of the human psyche. For the vast majority of the history of our species, we looked to the stars of the night sky for guidance, both literal and spiritual. Over time, their mysterious and infinite potential was embedded within symbolic representations that pervade every corner of the world’s culture, and while these individual incarnations hold a layer of meaning that is unique to their environment, their origin remains singular.

So too does an extended investigation of the masonry star’s functionality reveal a root cause shared by all. Reduced to its most fundamental purpose, the masonry star is a tool among many in civilization’s ever present battle against the tides of entropy. The universe’s inescapable tendency to move from order to disorder is perhaps the defining governance of everything, responsible for the arrow of time itself. Though some things will outlast others, nothing is permanent and all walls will eventually fall. Masonry stars are a bandage we use to hold them up just a little bit longer. Thus, despite their use in a war we’re destined to lose, they are a weapon embedded with the hope that carries us all forward.

“Lost Space” capitalizes on the multilayered significance nested within masonry stars by using them as nodes in a sculpture of constellations to be installed in undeveloped spaces of Philadelphia. Every new building brings with it artificial illumination that adds to the greater light pollution of the city, thereby reducing the ability of its inhabitants to see the night sky that was once treasured by their ancestors. It’s one of the many tradeoffs inherent to urbanization, which like entropy, has appeared to hold an unrelenting momentum. By rendering a likeness of the stars being obscured, “Lost Space” is a temporary patch into what was once the most salient reminder of our place in the Universe.

Lost Space

2018

Though not unique to Philadelphia, masonry stars are an architectural detail that hold a definitive place within the canvas of the city. Masonry anchors of varying shapes can be found throughout the older cities and villages of Europe, and the tradition has continued in the states in places where aging brick walls are in need of reinforcing. Somewhat inconspicuous and unassuming in size, to the common eye their function is often secondary to their aesthetic, and the star motif used in America’s birthplace tips this asymmetry even further, by consciously or unconsciously echoing the imagery of the country’s flag.

And yet the shape of the star is more universal still, appealing to the deepest reaches of the human psyche. For the vast majority of the history of our species, we looked to the stars of the night sky for guidance, both literal and spiritual. Over time, their mysterious and infinite potential was embedded within symbolic representations that pervade every corner of the world’s culture, and while these individual incarnations hold a layer of meaning that is unique to their environment, their origin remains singular.

So too does an extended investigation of the masonry star’s functionality reveal a root cause shared by all. Reduced to its most fundamental purpose, the masonry star is a tool among many in civilization’s ever present battle against the tides of entropy. The universe’s inescapable tendency to move from order to disorder is perhaps the defining governance of everything, responsible for the arrow of time itself. Though some things will outlast others, nothing is permanent and all walls will eventually fall. Masonry stars are a bandage we use to hold them up just a little bit longer. Thus, despite their use in a war we’re destined to lose, they are a weapon embedded with the hope that carries us all forward.

“Lost Space” capitalizes on the multilayered significance nested within masonry stars by using them as nodes in a sculpture of constellations to be installed in undeveloped spaces of Philadelphia. Every new building brings with it artificial illumination that adds to the greater light pollution of the city, thereby reducing the ability of its inhabitants to see the night sky that was once treasured by their ancestors. It’s one of the many tradeoffs inherent to urbanization, which like entropy, has appeared to hold an unrelenting momentum. By rendering a likeness of the stars being obscured, “Lost Space” is a temporary patch into what was once the most salient reminder of our place in the Universe.

Lost Space

2018

Though not unique to Philadelphia, masonry stars are an architectural detail that hold a definitive place within the canvas of the city. Masonry anchors of varying shapes can be found throughout the older cities and villages of Europe, and the tradition has continued in the states in places where aging brick walls are in need of reinforcing. Somewhat inconspicuous and unassuming in size, to the common eye their function is often secondary to their aesthetic, and the star motif used in America’s birthplace tips this asymmetry even further, by consciously or unconsciously echoing the imagery of the country’s flag.

And yet the shape of the star is more universal still, appealing to the deepest reaches of the human psyche. For the vast majority of the history of our species, we looked to the stars of the night sky for guidance, both literal and spiritual. Over time, their mysterious and infinite potential was embedded within symbolic representations that pervade every corner of the world’s culture, and while these individual incarnations hold a layer of meaning that is unique to their environment, their origin remains singular.

So too does an extended investigation of the masonry star’s functionality reveal a root cause shared by all. Reduced to its most fundamental purpose, the masonry star is a tool among many in civilization’s ever present battle against the tides of entropy. The universe’s inescapable tendency to move from order to disorder is perhaps the defining governance of everything, responsible for the arrow of time itself. Though some things will outlast others, nothing is permanent and all walls will eventually fall. Masonry stars are a bandage we use to hold them up just a little bit longer. Thus, despite their use in a war we’re destined to lose, they are a weapon embedded with the hope that carries us all forward.

“Lost Space” capitalizes on the multilayered significance nested within masonry stars by using them as nodes in a sculpture of constellations to be installed in undeveloped spaces of Philadelphia. Every new building brings with it artificial illumination that adds to the greater light pollution of the city, thereby reducing the ability of its inhabitants to see the night sky that was once treasured by their ancestors. It’s one of the many tradeoffs inherent to urbanization, which like entropy, has appeared to hold an unrelenting momentum. By rendering a likeness of the stars being obscured, “Lost Space” is a temporary patch into what was once the most salient reminder of our place in the Universe.

Trinity House

2018

A 1:1 scale adaptation of a house typology that originated in Philadelphia, the structure is comprised of three stacked 12ft x 12ft rooms, connected by a spiral staircase. The piece is constructed primarily with glass, and while aesthetic elements of the original house style, such as bricks and shutters, are etched into the glazing, the front and back doors of the first floor are operable, and the interior space is usable. While house itself is a sculpture, it is also a participatory work. The public is invited to furnish, decorate, and use the space as they see fit. It effectively becomes a living three dimensional collage open to the public of Philadelphia to partake in. With this freedom, however, comes the responsibility of care, maintenance, and productive communication, and the results of this public collaboration are amplified for all to see by the transparency and visual delicacy of the house. It thus acts as an allegory for the city as a place that is collectively realized by its inhabitants.

Appropriated into the context of a public artwork in the City Hall courtyard, the trinity serves as a powerful, multi-layered symbol for the diverse population and history of Philadelphia. With a humble footprint born from the subdivision of larger blocks during the city’s population boom of the 18th century, the Georgian style brick houses were originally home to Philadelphia’s lower income population. Often situated in neighborhoods that are now highly gentrified, many of the trinities that remain in Philadelphia to this day have transitioned into modest homes for the wealthy. This unique historical arc cuts across economic classes, making the trinity the archetypal row-home of Philadelphia, and an emblem of domesticity that is universally relatable to the local population.

At a more conceptual level, the idea of a group of three interrelated elements described by the word “trinity” can be extended to the constituents of the artwork’s responsibility as a public monument. Most broadly, these are the notions of public, private, and space. As the representation of a home located in the center of the city’s capital municipality, these ideas can be narrowed further to government, citizen, and city. The artwork plays with all three (or six) - a space that is representative of private life, situated in a public setting, provided by the government, who upon looking out of their office window, sees a symbol of the citizens it is their duty to serve. The transparency of the artwork further blurs these boundaries, and charges the placemaking afforded by the public access to the three rooms with implicit significance. Idealistic though it may be, the opportunity for the public to work together to make the Trinity House their own is a magnification of the dynamics that make the city, and challenges the public to take greater ownership of their role within it.

Trinity House

2018

A 1:1 scale adaptation of a house typology that originated in Philadelphia, the structure is comprised of three stacked 12ft x 12ft rooms, connected by a spiral staircase. The piece is constructed primarily with glass, and while aesthetic elements of the original house style, such as bricks and shutters, are etched into the glazing, the front and back doors of the first floor are operable, and the interior space is usable. While house itself is a sculpture, it is also a participatory work. The public is invited to furnish, decorate, and use the space as they see fit. It effectively becomes a living three dimensional collage open to the public of Philadelphia to partake in. With this freedom, however, comes the responsibility of care, maintenance, and productive communication, and the results of this public collaboration are amplified for all to see by the transparency and visual delicacy of the house. It thus acts as an allegory for the city as a place that is collectively realized by its inhabitants.

Appropriated into the context of a public artwork in the City Hall courtyard, the trinity serves as a powerful, multi-layered symbol for the diverse population and history of Philadelphia. With a humble footprint born from the subdivision of larger blocks during the city’s population boom of the 18th century, the Georgian style brick houses were originally home to Philadelphia’s lower income population. Often situated in neighborhoods that are now highly gentrified, many of the trinities that remain in Philadelphia to this day have transitioned into modest homes for the wealthy. This unique historical arc cuts across economic classes, making the trinity the archetypal row-home of Philadelphia, and an emblem of domesticity that is universally relatable to the local population.

At a more conceptual level, the idea of a group of three interrelated elements described by the word “trinity” can be extended to the constituents of the artwork’s responsibility as a public monument. Most broadly, these are the notions of public, private, and space. As the representation of a home located in the center of the city’s capital municipality, these ideas can be narrowed further to government, citizen, and city. The artwork plays with all three (or six) - a space that is representative of private life, situated in a public setting, provided by the government, who upon looking out of their office window, sees a symbol of the citizens it is their duty to serve. The transparency of the artwork further blurs these boundaries, and charges the placemaking afforded by the public access to the three rooms with implicit significance. Idealistic though it may be, the opportunity for the public to work together to make the Trinity House their own is a magnification of the dynamics that make the city, and challenges the public to take greater ownership of their role within it.

Trinity House

2018

A 1:1 scale adaptation of a house typology that originated in Philadelphia, the structure is comprised of three stacked 12ft x 12ft rooms, connected by a spiral staircase. The piece is constructed primarily with glass, and while aesthetic elements of the original house style, such as bricks and shutters, are etched into the glazing, the front and back doors of the first floor are operable, and the interior space is usable. While house itself is a sculpture, it is also a participatory work. The public is invited to furnish, decorate, and use the space as they see fit. It effectively becomes a living three dimensional collage open to the public of Philadelphia to partake in. With this freedom, however, comes the responsibility of care, maintenance, and productive communication, and the results of this public collaboration are amplified for all to see by the transparency and visual delicacy of the house. It thus acts as an allegory for the city as a place that is collectively realized by its inhabitants.

Appropriated into the context of a public artwork in the City Hall courtyard, the trinity serves as a powerful, multi-layered symbol for the diverse population and history of Philadelphia. With a humble footprint born from the subdivision of larger blocks during the city’s population boom of the 18th century, the Georgian style brick houses were originally home to Philadelphia’s lower income population. Often situated in neighborhoods that are now highly gentrified, many of the trinities that remain in Philadelphia to this day have transitioned into modest homes for the wealthy. This unique historical arc cuts across economic classes, making the trinity the archetypal row-home of Philadelphia, and an emblem of domesticity that is universally relatable to the local population.

At a more conceptual level, the idea of a group of three interrelated elements described by the word “trinity” can be extended to the constituents of the artwork’s responsibility as a public monument. Most broadly, these are the notions of public, private, and space. As the representation of a home located in the center of the city’s capital municipality, these ideas can be narrowed further to government, citizen, and city. The artwork plays with all three (or six) - a space that is representative of private life, situated in a public setting, provided by the government, who upon looking out of their office window, sees a symbol of the citizens it is their duty to serve. The transparency of the artwork further blurs these boundaries, and charges the placemaking afforded by the public access to the three rooms with implicit significance. Idealistic though it may be, the opportunity for the public to work together to make the Trinity House their own is a magnification of the dynamics that make the city, and challenges the public to take greater ownership of their role within it.

Between Infinity

2018
36” x 28”
Acrylic, wood