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Thinking about interpersonal actions humans commonly do, the ‘Touch’ series posits that art pieces are jealous of us.
Furthering my explorations with Object Oriented Ontology, this piece asks the viewer to interact with the wall piece by high-fiving, fist-bumping, or kissing. For humans, each of these actions is coded with an assumed relationship to the other person. This series pushes the viewer to create a relationship with the art through touch, using physicality as an entry point for understanding.
'Touch', 2026, various sizes
Mix media
Thinking about interpersonal actions humans commonly do, the ‘Touch’ series posits that art pieces are jealous of us.
Furthering my explorations with Object Oriented Ontology, this piece asks the viewer to interact with the wall piece by high-fiving, fist-bumping, or kissing. For humans, each of these actions is coded with an assumed relationship to the other person. This series pushes the viewer to create a relationship with the art through touch, using physicality as an entry point for understanding.
'Touch', 2026, various sizes
Mix media
Thinking about interpersonal actions humans commonly do, the ‘Touch’ series posits that art pieces are jealous of us.
Furthering my explorations with Object Oriented Ontology, this piece asks the viewer to interact with the wall piece by high-fiving, fist-bumping, or kissing. For humans, each of these actions is coded with an assumed relationship to the other person. This series pushes the viewer to create a relationship with the art through touch, using physicality as an entry point for understanding.
'Touch', 2026, various sizes
Mix media
Thinking about interpersonal actions humans commonly do, the ‘Touch’ series posits that art pieces are jealous of us.
Furthering my explorations with Object Oriented Ontology, this piece asks the viewer to interact with the wall piece by high-fiving, fist-bumping, or kissing. For humans, each of these actions is coded with an assumed relationship to the other person. This series pushes the viewer to create a relationship with the art through touch, using physicality as an entry point for understanding.
'Touch', 2026, various sizes
Mix media
Thinking about interpersonal actions humans commonly do, the ‘Touch’ series posits that art pieces are jealous of us.
Furthering my explorations with Object Oriented Ontology, this piece asks the viewer to interact with the wall piece by high-fiving, fist-bumping, or kissing. For humans, each of these actions is coded with an assumed relationship to the other person. This series pushes the viewer to create a relationship with the art through touch, using physicality as an entry point for understanding.
'Touch', 2026, various sizes
Mix media
Thinking about interpersonal actions humans commonly do, the ‘Touch’ series posits that art pieces are jealous of us.
Furthering my explorations with Object Oriented Ontology, this piece asks the viewer to interact with the wall piece by high-fiving, fist-bumping, or kissing. For humans, each of these actions is coded with an assumed relationship to the other person. This series pushes the viewer to create a relationship with the art through touch, using physicality as an entry point for understanding.
'Touch', 2026, various sizes
Mix media
'Desk Still Life', 2026, 11x14"
Grayscale oil on canvas
My first oil painting!
I'm honored to be a part of @scaddistrict's 'Metamorphose' the 2026 Port City Review publication, print and online.
'Kaleidoscopic', 2025, 8x10"
Acrylic on canvas panel
This self-portrait shows change as quiet and personal. The kaleidoscopic nature of the portrait reflects emotional growth. The colors blend over the achromatic skin creating the effect of fluctuation, outwardly showing internal changes. This portrait plays off of my emotional state during this period of my life, my freshman year, depicting the way that I have
emotionally been askew during this period of large change.
I'm honored to be a part of @scaddistrict's 'Metamorphose' the 2026 Port City Review publication, print and online.
'Kaleidoscopic', 2025, 8x10"
Acrylic on canvas panel
This self-portrait shows change as quiet and personal. The kaleidoscopic nature of the portrait reflects emotional growth. The colors blend over the achromatic skin creating the effect of fluctuation, outwardly showing internal changes. This portrait plays off of my emotional state during this period of my life, my freshman year, depicting the way that I have
emotionally been askew during this period of large change.
Excerpt of 'Orlando' by Virginia Woolf. This novel is so profound in understanding identity, and evolution.
Once cocooning a caterpillar becomes a viscose liquid, retaining only a grain of memory, before forming into a butterfly. This is what I feel parallels the path of Orlando, and I am so inspired by that journey.
'Orlando', 2025
Process images of the fabric work, done first in greyscale, with colored glaze. The ruffle collar was a last minute addition.
'Orlando', 2025
Process images of the fabric work, done first in greyscale, with colored glaze. The ruffle collar was a last minute addition.
'Orlando', 2025
Process images of the fabric work, done first in greyscale, with colored glaze. The ruffle collar was a last minute addition.
'Orlando', 2025
Process images of the fabric work, done first in greyscale, with colored glaze. The ruffle collar was a last minute addition.
Refurbished Lamp, 2024
Recycled glass lamp, painted in acrylic, umbrella shade
Refurbished Lamp, 2024
Recycled glass lamp, painted in acrylic, umbrella shade
Refurbished Lamp, 2024
Recycled glass lamp, painted in acrylic, umbrella shade
Refurbished Lamp, 2024
Recycled glass lamp, painted in acrylic, umbrella shade
'Transparent I' 2024, 16x20"
Acrylic on canvas
Featured in 2024 SAMA Biennial
Looking at older self-portrait work like this, I see an evolving perception of self. The things that I felt were provocative in my self styling during the time of this painting are now standard in my life. I am grateful that a radically-honest, evolving identity can be cataloged through my work. The title 'Transparent I' holds a different connotation when viewing it from this lens, the transparency is in my vulnerability. I see vulnerability in the face of my past self when looking back at this work.
'Transparent I' 2024, 16x20"
Acrylic on canvas
Featured in 2024 SAMA Biennial
Looking at older self-portrait work like this, I see an evolving perception of self. The things that I felt were provocative in my self styling during the time of this painting are now standard in my life. I am grateful that a radically-honest, evolving identity can be cataloged through my work. The title 'Transparent I' holds a different connotation when viewing it from this lens, the transparency is in my vulnerability. I see vulnerability in the face of my past self when looking back at this work.
'Transparent I' 2024, 16x20"
Acrylic on canvas
Featured in 2024 SAMA Biennial
Looking at older self-portrait work like this, I see an evolving perception of self. The things that I felt were provocative in my self styling during the time of this painting are now standard in my life. I am grateful that a radically-honest, evolving identity can be cataloged through my work. The title 'Transparent I' holds a different connotation when viewing it from this lens, the transparency is in my vulnerability. I see vulnerability in the face of my past self when looking back at this work.
Process of my self-portrait as a strawberry
Detail of 'Heritage Garden', 2024
Process of my self-portrait as a strawberry
Detail of 'Heritage Garden', 2024
Process of my self-portrait as a strawberry
Detail of 'Heritage Garden', 2024
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