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Facilities Fully Functional
Crystal Bridges Museum of Art, 2020
Abel Contemporary Gallery, 2019
Facilities Fully Functional explores the tension and disconnect between natural and built worlds. Images of abandoned homes, dislocated animals and malfunctioning systems coalesce then transcend into a world uncorrupted, as dreamt by a dog.
the understory
Solo exhibition
Madison Museum of Contemporary Art, 2017
the understory at the Madison Museum of Contemporary Art was installed within a freestanding, floor-to-ceiling, panoramic structure nearly 30’ in diameter. Referencing the 19th century cyclorama gallery in which viewers were meant to feel sublimated into massive 360º murals of distant lands, battles, and conquests, the understory encourages a more intimate immersion within interstitial moments, overlooked details, and tenuous connections that investigate the indifference of nature and ones relationship to our changing environment.
The End of Angels
Site-specific commission for the 2013 Wisconsin Triennial, Madison Museum of Contemporary Art
The End of Angels collapses and redeploys imagery from the 'real world' with built dioramas that track and investigate the uncanny messages that come through dreams. This space, between lived experience and ones struggle to interpret, is the focal point that encompasses a space equally described as 'nothing' and 'everything'.
Infinity vs. Eternity
Disjecta Contemporary Art Center, Portland, OR, 2013
Infinity vs. Eternity was created for The Vestibule, a 5' x 40' x 12' gallery space within Disjecta Contemporary Art Center in Portland, Oregon. Disjecta curates this odd gem for site-sensitive works and special projects. Click 'View project details' for more information.
There is no fixing the drift
2010 Wisconsin Triennial, Madison Museum of Contemporary Art
This work explores how deeply held grief usurps the body and makes one strange to oneself. Just as a darkroom “fixing” bath never truly suspends the moment of the photograph, so too is the future self to whom the photograph is addressed in an ever-changing inflection between present and past; a looping gesture of drift.
Promiseland
Wisconsin Film Festival (Madison, WI), 2010 – Best Experimental Short
Class of 1925 Gallery / Wisconsin Memorial Union, Madison, WI, 2009
PROMISELAND juxtaposes the 1962 Cinerama opus “How the West Was Won” with the enigmatic, wandering Orange Gingham Man (OGM) who appears in quasi-dioramic environments that recall westward migration and iconic western landscapes like Monument Valley. In actuality, much of PROMISELAND was filmed in a sand-pit south of Madison, WI. The soundtrack is a pastiche of atmospheric elements and Alfred Newman's sweeping score from "How the West was Won." This work preceded and laid groundwork for American Quartet.
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