oil on panel.

Through the process of industrialization in Portland, a number of geologic artifacts have found their way into the Willamette River. Some are easier to see than others. Less visible are the heavy metals and pollutants that have been dumped into the river by human hands. If you walk beside the Willamette River in Portland paying careful attention to the riverbank, you notice that the river rocks are supplemented with human-altered materials: concrete, asphalt, brick, and glass slag. Chunks of concrete interlaced with rebar form the upper banks. These materials perform the functions of stone in the river, although most are less molecularly stable than their analog counterparts. In my sculptures and paintings, I confront how human-altered silicates and metals occupy non-human spaces. As longlived artifacts of human construction, how does their presence contribute to imaginations of the future? How do these materials change the life and structure of the river?

Worms and Stones

Statement: To exist in the present moment is to experience all of the culminating forces that move and shift the objects and beings that exist beside us. The intimate lives of these things are deeply informative, exposing large and small violences, patterns of care, neglect, destruction, transformation, and rebirth. I pose the question: What does careful consideration of these object expose about larger undercurrents shifting our world? 


Oil on Paper

Life of Stone

Artist Statement: The life of stone unfolds in deep time. A brief moment is visible to us when we watch rain weather boulders and ocean beat them into pebbles. Now we have added anthropogenic waste to the deep geologic time scale: plastic, styrofoam and chemical toxins. We alter the place and composition of stone, making it implicit in violence against living beings as a building material used to construct ecologically destructive dams and a  feature of violent landscape architecture. In conversation with the tensions between deep time and the present, I cast boulders placed over highway meridians to deter homeless encampments with paper waste from Lewis and Clark College. I ask: What happens to a stone when it becomes a feature of hostile landscape architecture? How does our culture of waste affect how we treat human beings? What does that say about us?


Recycled paper


wood glue


discarded house paint

Brick House

Lately I have been considering the exploration and deconstruction of how organic organisms and urban structures exist together. Additionally, I am considering the value judgements we tend to place on them respectively and why we do so.

This particular work began with an interview between myself and my friend (and model I referenced for this piece) about her experience taking up space in and out of an urban environment. In a city she felt held and safe in some ways. In others she felt placed into a box, unique yet indistinguishable from many, much like a brick or cinderblock in a wall. There was an undertone of anxiety in her experience although there was no reference to immediate danger. Her experience in spaces outside urban environments provided freedom in different ways, yet still an retain undertone of fear.

This piece is an exploration of the way cities nurture, protect, sequester, threaten, constrict and square-off, among other complex forces.

discarded moss-covered red bricks and cinderblock, black wire, oil paint on copper sheet.