Woodcuts and wood engravings on paper, 36″ x 60″, edition of two, 2017.
This installation consists of a 5′ x 8′ print on paper, a collection of carved wooden block sculptures of various sizes, a set of chess pieces whittled from twigs, a dried common mullein plant, a representation of a monumental roadside religious pilgrimage site built by a distant cousin of mine, my grandmother’s drawing of a piece of driftwood, and the actual piece of driftwood.
This is a work I made at the Center for Book Arts in 2012 when I was a resident artist there. It consists of thirty-six woodcuts and wood engravings from all six sides of six handmade type-high (0.918″) blocks of maple, with an original narrative text & list poem handset in lead Caslon Antique type, letterpress printed in seven colors on a paper booklet & fold-out broadside.
This is not just any old business card, but a parody of one, which opens out to an accordion-fold book with a very long, very irreverent list-poem of every job or identity construct I have ever had in my life.
Drypoint illustration, with pen and oak gall ink script on paper. 5 1/2″ x 6 3/4.” Made while in residence at the Center for Book Arts in 2012. The text is a fragment from the poem “Wilderness,” by Carl Sandburg.
This work imagines what it would be like to convene an inter-species committee about the monumental environmental crises we face on Earth. The acronym, C.R.I.E.R.S., stands for “the Committee for Relentless Inquiry into the Earth’s Regretful Situation.” Click on the image to view it bigger so you can read it.
This was a project I organized with Ted Efremoff. We built this boat in Willimantic, Connecticut, in three weeks. It is a wooden lapstrake canoe with a canvas sail. It was built with the help and participation of about 100 people from the local area.
The Beeline Transit Map is a reimagining of the NYC subway map. It shows the routes that birds, bugs, and bees might take to get around the city, hopping from greenspace to greenspace, to point out how important those spaces are. Huong Ngo and I drew it by hand with watercolor and pencil.
This was a wide-ranging project I did in 2009, collaborating with Huong Ngo. It was part of an alternative pedagogy project she was organizing called Secret School. We started thinking about all the other secret gardens, the ones that you don’t even know are there, tucked away onto rooftops and hidden in backyards.
This is an adventure I had with a giant pumpkin, in 2005. I was invited to make a site-specific performance art work for a halloween party, as a member of the Independent Performance Group, curated by Marina Abramovic. I carved the pumpkin into a house and lived inside of it for the duration of the party.
This project started as one aspect of my elaborate MFA thesis exhibition, A Work of Art, in 2005. It continued as a portable system for one-on-one collaborations with strangers for several years afterwards.
This book was printed at the UConn Printshop with Gus Mazzocca’s offset press in 2005. Offset and embosograf, staple bound pamphlet. Edition of 500. 4.25″ x 5.5″. This book was part of A Work of Art.
This book was made at the UConn printshop using Gus Mazzocca’s offset press, embosograf, and screenprint, in 2004. I made drawings of everything in my toolbox at the time, and grouped them into rough categories. The book is hardbound in an edition of 67 with a few extras that are softbound. For sale in the Emporium.
This was a studio process project I did in 2002 when I was a senior in college, and had my own art studio for the first time. I made a series of sculptures from a bunch of found junk; each time constructing something, taking a slide photograph of it, making a screen print based on the construction, then taking it apart and reconfiguring the materials for the next cycle. The project was shown as a suite of 10 prints and a new arrangement of the objects, along with a slide projector automatically advancing to simulate the chug-chug sound of a train, while flashing images of the previous configurations on the wall.