Afterimages, 2021
dye sublimation prints mounted on steel bar, printed text
19‘ installation
“Afterimages” is a series of digital photographs and personal note entries that document my personal experience with loss. Made between November 2019 and April 2021, the images depict various areas throughout my family home and range from plain, detached observation of its contents to the lyrical or metaphorical. The sequence, a chronology more or less, compresses the loss of both parents and its emotional repercussions into one single stream of visual and textual information.
dye sublimation prints mounted on steel bar, printed text
19‘ installation
“Afterimages” is a series of digital photographs and personal note entries that document my personal experience with loss. Made between November 2019 and April 2021, the images depict various areas throughout my family home and range from plain, detached observation of its contents to the lyrical or metaphorical. The sequence, a chronology more or less, compresses the loss of both parents and its emotional repercussions into one single stream of visual and textual information.
Beaver, 2021
paintings and works on paper by John “Beaver” Estes
Beaver’s Show is an installation of my late father’s artwork. Both a craftsman and retired carpenter, Beaver discovered painting later in life while I was in art school. This accumulation of his self-taught oeuvre, in which landscape and natural imagery figure prominently, are displayed directly across from my photographs made in the family home.
This mirroring is repeated in Daddy’s Boy, a video I made as a student in 2013. The split screen video follows my father and I as we each build a side of a small piece of furniture. The action is playfully subverted by the introduction of high heel shoes, a gesture drawing contrast to gendered expectations of masculine identities. Both sides of the stand are assembled and finished differently, and the video concludes with the image of the two halves coming together.
Vimeo
Runtime: 4:28 min.
Cinematography: Rae Pepino
paintings and works on paper by John “Beaver” Estes
Beaver’s Show is an installation of my late father’s artwork. Both a craftsman and retired carpenter, Beaver discovered painting later in life while I was in art school. This accumulation of his self-taught oeuvre, in which landscape and natural imagery figure prominently, are displayed directly across from my photographs made in the family home.
This mirroring is repeated in Daddy’s Boy, a video I made as a student in 2013. The split screen video follows my father and I as we each build a side of a small piece of furniture. The action is playfully subverted by the introduction of high heel shoes, a gesture drawing contrast to gendered expectations of masculine identities. Both sides of the stand are assembled and finished differently, and the video concludes with the image of the two halves coming together.
Vimeo
Runtime: 4:28 min.
Cinematography: Rae Pepino
Phone Call, 2020
score
Roadside Attraction
June - July 2020
Location: Tempe, AZ
Conceived of for “Roadside Attraction,” a multi-site, drive-by exhibition organized by ArtFarm/practical art at the height of COVID-19, Phone Call is a performance score that was presented discreetly on a residential street in Tempe, AZ. From the safety of their vehicle, participants could access the score and various other public artworks through Google Maps.
score
Roadside Attraction
June - July 2020
Location: Tempe, AZ
Conceived of for “Roadside Attraction,” a multi-site, drive-by exhibition organized by ArtFarm/practical art at the height of COVID-19, Phone Call is a performance score that was presented discreetly on a residential street in Tempe, AZ. From the safety of their vehicle, participants could access the score and various other public artworks through Google Maps.
She is just everywhere now, 2020
temporary tattoos installed throughout Mood Room at Park Central
Growing up, my mother had rules against piercings and tattoos. While I was able to get away with the former, the latter was not to happen under her roof — unless it were to say “Mom” and be on your ass, that is.
Although I have not yet gotten the permanent version done, these temporary tattoos function as a tongue-in-cheek memorial to her. The tattoo features her signature pulled from a recent birthday card.
temporary tattoos installed throughout Mood Room at Park Central
Growing up, my mother had rules against piercings and tattoos. While I was able to get away with the former, the latter was not to happen under her roof — unless it were to say “Mom” and be on your ass, that is.
Although I have not yet gotten the permanent version done, these temporary tattoos function as a tongue-in-cheek memorial to her. The tattoo features her signature pulled from a recent birthday card.
