La División: Los Trabajadores con Enrique The scene depicted in the image above is from an adapted film that mirrors the story told in El Norte. In this specific scene, two workers are talking to their new boss, Enrique, about their lives in the United States. Their conversation's focus is on their families and how they provide for the people they love. My group wanted to encompass the idea of belonging in this scene to...
Movie blurb of film assignment in IDST 190
3300 Arendell St V.
3300 Arendell St VI.
3505 Arendell St
Ocean Blvd Public Beach Access
Something That Breaks Your Skin utilizes the bodily language from a U.S. State asphalt repair manual as both a starting point and a material. Each one of the photographic works in this series of eight focus on a particular taxonomy of road fault and the associated text from the manual. The photographs recreate example images from the manual, using faults that I found and photographed in the built landscape. Incisions in the mat reveal both...
This work is comprised of the negative spaces of potholes that I have casted. Altogether, the potholes become an archive of these negative spaces in the street. Arranged as if they are artifacts from a collection, each pothole sits inside a gridded presentation. Blackened steel and reflective metal, in-lieu of clinical white plywood, reflect yet disrupt the standard institutional display strategies. Each pothole is displayed inverted or upside down from its original source. With the...
Get-Well-Soon balloons are a way to investigate the economy of social care, colorful facades that, when recontextualized in the gallery, become eerie, detached objects. As they continue to deteriorate and fall in the space, they become live objects that evoke breathing and lung function.
This work references ikebana, the Japanese art of formal flower arrangement.
From Halos of Happiness series.
Self-iteration as Britney Spears from 2001 VMA performance of "I'm a Slave 4 U"
Recontetualizing the waiting room, the threshold of clinical space, this work investigates stock imagery and language that simultaneously avoids large questions of mortality and reveals a void in healthy, nuanced language for illness and death.
Placing medical diagnostics and social support in conversation, videos are made with an endoscope camera probing food items. This work explores practices of giving food during times of illness or loss and the connections between food and caregiving.
702 Atlantic Beach Causeway II.
View from outside the John and June Allcott Gallery, Hanes Art Center, UNC
Dye sublimation on aluminum