"Face 2 Face", 2015. Originally, this video was one of the menu options displayed on a tablet attached to my bed in "Bed = Island". In that setting, the video was displayed sideways so that the viewer would be lying on their side to watch. On the screen, the viewer sees me talking to them in a loving and caring way, as if we are facetiming lovers, creating an intimate space between myself and the viewer as they relax into a posture associated with being in bed. The distortion of the video is a reminder of the space and time between two people. In this video, the distortion gradually becomes more and more as the discomfort of being face to face with a stranger increases. As the distortion increases, the viewer’s experience with the work may change and one’s ability to stay with me might also become easier, less personal.

Video performance inspired by ASMR and Vito Acconci's "Theme Song"

face2face

[Mouth Wide Open, 2019.](https://mouthwideopen.art/)


A series of sound scores drawn from my teeth as they morph and evolve with my ever increasing entropic state of being. An ode to my vanity. A portrait of contrived, formal epigenetics. A reflection on what biologists are beginning to uncover about the complex dance of genes that create personality and identity, a dance that stretches far into the past and shows that each “identity” is composed of a swirl of different influences. If the arrangement of my teeth, something seemingly so solid and stationary, can be changed and redirected over the course of a year - what other aspects of my identity and genetics which seem fixed are actually fluid? 


“When we really look at ourselves, then, and the things around us that we took to be so solid, so stable, and so lasting, we find that they have no more reality than a ... A Mirage, a cloud castle, A dream, an apparition, Without essence, but with qualities that can be seen.”

~Sogyal Rinpoche

mouth wide open

Mouth Wide Open

"Was I sleeping while others suffer? Am I sleeping now? Tomorrow when I wake, or think I do, what shall I say of today? That ... at this place, until the fall of night, I waited for Godot?" - Waiting for Godot, by Samuel Beckett

waiting room

Waiting Room

oath

Oath

In the train, metro, bathroom, and anywhere public where I could catch the bored eye of a fellow commuter, I placed A sticker inviting a text. "Send me a picture of your belly button". Innocuous enough for belly buttons to start flooding in to my phone from perfect strangers. In this work, I reflect on humanities common physiological feature - the navel - the place where we first receive life-giving nutrients from our mother. It also alludes to selfies as a modern Omphaloskepsis (navel gazing) practice. 



texts

Bb 2

bb zoom

*Sitting Fairly Still* is a series in which a program tracks my movement as I sit for an indeterminant amount of time. My subtle twitches and the undulation of my breath are my paint brushes. This work shares a line of thought with Jenny Odell’s book *How to Do Nothing: Resisting the Attention Economy*. From which I learned the radical idea that doing nothing can be used as an antidote to negative effects capitalism and patriarchy have on a person. This series is on-going and continues to help me through dark periods during Trump's presidency.

~

This series is featured in ["It's Nice Out Here"](https://www.itsniceouthere.net/), an online art pavilion part of The Wrong Digital Art Biennale. Pavilion will be online until March 1, 2020.




meditation 3-4-31723

meditation 3-6-16802

This was the morning Gigi was found dead. Right before I found out. 

meditation 3-10-23818

The Full moon following her death had an ice ring halo around it.

meditation 3-19-22072

meditation 4-10-26856

meditation 4-15-30966

meditation 5-5-29061

meditation 5-18-41918

meditation 6-6-13593

meditation 6-18-27694

meditation 7-2-27556

meditation 8-19-4409

Sitting Fairly Still

Employing materials that have an inherant life cycle, I utilize Uhaul moving blankets. Reincarnated from old denim, these recycled blankets have journeyed all over the country, covering families cherished belongings, until they made it into my hands. Indigo and mud are both used in dying the works in this show, and they too have a relationship to life, decomposition, transformation and alchemy. 

One can see the infinite possibilities 

in gazing at the stars;

the vast expanse of time

cradled in an old forest;

the places one can travel 

by standing still.

long-haul

Long Haul: Sacred Covering for Our Collective Soul

Long Haul

tabernacle multi view

ancestral pillowcase, indigo, moving blanket, travel urn Sale contingent on Agreement of Use. Price Upon Request

Antumbra

Paternal Grandfather’s, pillowcase, indigo, moving blanket, travel urn NFS

night

Torus Tabernacle

torus tabernacle

Tabernacles

VisArts Center 
Rockville, MD
April 27 - May 27 2018

This body of work investigates how man extracts value from the land. I created carved maps of landscapes with precious resources and painful pasts. Blemishes and flaws are revealed in the grains beneath the surface of the ply as the terrains are traced using computer numeric control. I imagine a future where there is nothing left to mine and where these relics with embedded cryptocurrency mining computers are all that we have left.


Some of the works’ formal references are drawn from religious funerary rites and American quilts. They explore aesthetics of various power structures and reflect on histories of colonization of lands caught in the crossfire of humans’ thirst for power and material possession. Using dyes made from soils collected from these sites, I constructed quilts as both a reference for land plots and lotteries and connotations of gridded games that emphasize acquisition.


An added layer to the exhibit is that some works can be scanned with the viewers' phones to reveal digital relics composed of images and 3d scanned stones from my visits and interviews. Upon entering the AR website, power is taken from the viewer's device and is used to mine cryptocurrency. This dynamic relationship of authority, permission, and control relates back the subject of coloniazation and the mistreatment of people and lands alike. 




divining pawn

installation view

Tabernacle: Z

“Jorge’s Search for Pizarro’s Garden”, 2018 Digital inkjet print on muslin, copper pipe, chain,  For Augmented Reality visit colere.earth

IMG 2932

Blood in the Hands, Snake in the Grass

IMG 9622 edit

IMG 9623 edit

IMG 9635 edit

table strategies

succession plan

Succession Plan: Superstition Blockchain

mineres & loggers

The works’ formal references are drawn from religious funerary rites and American quilts. They explore aesthetics of various power 

Colere

iiwfst

iiwfsp

Public comission for Sawgrass Marriott Golf and Spa Resort. 

amanda agricola 02

Sawgrass

Language comparison of the different vocal patterning when using the type of love for romantic feelings of love versus a more friendly usage of luv. 

Say Love v Luv

Detail of exercise for the heart center and remains of "love"

Recordings of the word "love" from "Say Love v Luv" were saved and used to create a bed of all the collected vocal waves. The meaning of the word is thus translated into a tactile experience. 

Bed=Island

Bed with video monitor of ASMR videos and light switch to change LED color.

Bed = Island

Light Body 

yoga class using the disassembled bed blocks

bed = island: open heart

Bed = Island: Open Heart

Bed Island

Tiny reminders to the observant passer-bys that cracks can offer opportunity for growth. Fence-posts are 3d printed and errected spontaneously where life is found bursting through the pavement, despite the harsh and barren conditions. 

Crack 4

Crack3

Crack2

Crack1

Crack5

Tiny reminders to the observant passer-bys that cracks offer opportunity for growth. Fence-posts 3d printed and errected spontaneously where life is found bursting through the pavement, despite the harsh and barren conditions. 

Adopt-A-Crack

Tweets containing the keyword painful illuminate a candle on the altar, offering a glimpses of the intimate moments shared openly on the internet. On the other end, I anonamously am present to receive, honor, and make an offering back; a tiny gesture made towards a world of pain and suffering. 