Category: Professional Portfolio
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Moneypit
Color Lithograph and Screenprint; 15″x22″; 2018 Moneypit , Why Choose?, and Preemie’s… employ multiple print disciplines to show the complexities of bringing another consumer onto an already overcrowded planet. My sons act as stand-ins for humanity’s impulsive nature in many of the provided artworks.
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Why Choose?
Photolithograph, stone lithograph, and etching; 21.75″x14.75″; 2019 Moneypit, Why Choose?, and Preemie’s… employ multiple print disciplines to show the complexities of bringing another consumer onto an already overcrowded planet. My sons act as stand-ins for humanity’s impulsive nature in many images in my portfolio.
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A Preemie’s First Viral Load
Linocut, collagraph, and pochoir; 14″x11″; 2020 Moneypit, Why Choose?, and Preemie’s… employ multiple print disciplines to show the complexities of bringing another consumer onto an already overcrowded planet. My sons act as stand-ins for humanity’s impulsive nature in many images in my portfolio.
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HomeBound
Screenprint; 21.5″x13.75″; 2021 This piece reflects on the privilege and cloistered comfort provided from a somewhat slower pace of life at the beginning of the pandemic, while acknowledging the chaos outside. The crocheted “roots” show the welcome connection to home, one that was at once a reprieve and a burden when I felt called to…
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Background Noise Project
Four laser-engraved linocut blocks—of landfill, lumber, rock strata, and prairie grasses—from hand-drawn positives, mounted on hand constructed paperboard rollers. Each roller drum is 24” long, with a 7” circumference.2018 The resulting image when the rollers are printed is a continuous, progressively lighter impression to reference how a landscape, no matter how arresting or alarming, quickly…
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Leveled
Screenprint and laser-engraved linocut on repurposed fabric with appliqué and reverse appliqué stitching; 18″x50″; 2018 Leveled, Prospect , …Better Angels, and KIMBY employ matrices from previous projects, as well as strata and landfill impressions from the Background Noise Project, to address our collective insatiable desire to “Keep up with the Joneses”.
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Prospect
Woodcut, screenprint, and laser engraved linocut on repurposed fabric with appliqué and reverse appliqué stitching; 74″x29″; 2018 Leveled, Prospect , …Better Angels, and KIMBY employ matrices from previous projects, as well as strata and landfill impressions from the Background Noise Project, to address our collective insatiable desire to “Keep up with the Joneses”.
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Wrestling with Our Better Angels
Woodcut, screenprint, and laser engraved linocut on repurposed fabric with appliqué and reverse appliqué stitching; 8’x8′; 2019 Like many of the examples presented herethis piece addresses the unitended consequences of unchecked consumption. The child wrestles with a polluted, indulgent version of himself, made from the “ghost”impressions from the large portrait woodcut.
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Keep Up/Keep Out Protest Flags
Screenprint on repurposed fabrics with appliqué and reverse appliqué stitching; Keep Up 31″x47″, Keep Out 42″x42″; 2019 The dual, dueling mantras of late stage capitalism in America today. Keep Up demands competition and consumption, while Keep Out ensures one’s acquired–though not always earned–privileges and treasures are hoarded.
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Howdy Neighbor
Howdy Neighbor; Freehand machine embroidery, appliqué & reverse appliqué on repurposed fabric, grommets, and flag poles mounted at porch height; Six 3’x2′ flags suspended at 8′ on the wall; 2023 These porch flags play with the metaphor of neighborhood, on the local and global level. Some act as an invitation for care and collaboration, some…
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The Virulent Myth of Upward Mobility
Pochoir, screenprint, chine collé, repurposed fabric on salvaged craft store kitsch canvas (with the text “Love grows Well in Little Houses”) left behind in our kitchen when we purchased our home; 30″x6″; 2021 Created during the pandemic when the expectation to consume in order to “return to normal” felt especially aggressive and egregious, this piece…
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The Best Kind of Neighbors
The Best Kind of Neighbors; Screenprint on repurposed fabric, appliqué & reverse appliqué stitching, and freehand machine embroidery; 72″x33″; 2021 The root forms here reference the interdependence of humanity, and the global ecological neighborhood, by alluding to the hormonal and fungal system that connects a forest. Like that underground network, a neighborhood is possible where…
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Anywhere I Lay My Head, Version #2
Screenprint on repurposed fabric, appliqué & reverse appliqué stitching, and salvaged plastic grocery sacks; Site responsive installation;Current arrangement approximately 36”x48”x10”;2022 This series discusses class by portraying dwellings as symbols of comfort and security. This first series compares the coziness of our house with the bastions of McMansions, symbols of conspicuous consumption and contemporary isolation. Future…
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Born On Third Base
Born On Third Base; Screenprint on repurposed fabric, freehand machine embroidery, appliqué & reverse appliqué stitching, and salvaged fake flowers; 4’x8′; 2023 This piece returns to the theme of the birth of our second child. Our home, the bungalow featured here and in several other pieces, spills out into a large city park featuring a…
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Little House Upon a Foundation of Others’ Homelands
Little House Upon a Foundation of Others’ Homelands; Screenprint on repurposed fabric, weaving, and freehand machine embroidery; 44″x24″; 2023 Our house sits upon the homelands of Indigenous nations. This piece acknowledges six such nations—via stripes of colors from their contemporary flags and/or seals—who occupied what is today Cape Girardeau (source: http://native-land.ca/). Thousands of other displaced…
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KIMBY (Knot In My Backyard)
KIMBY (Knot In My Backyard); Screenprint and laser engraved linocut on repurposed fabric, crochet, and appliqué & reverse appliqué stitching; 56″x48″; 2023 The theme of a covertly interconnected global neighborhood returns in this piece as crochet roots writhe and couple my home with those of my neighbors. The bright colors and loud patterns, like in…
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Raise/Raze
Site Responsive Installation;Crocheted repurposed fabric, appliqué and reverse appliqué stitching, free hand machine embroidery, and ribbon;10’ x 10’ x 9’;2022 Raise/Raze and Two Drained are part of a growing body of crochet installations, usually in collaboration with Hannah Sanders, that juxtaposes ecological miscarriages with our familial bliss. Often thought of as a “home craft”, crochet…
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Two Drained
Site Responsive Installation (with Hannah Sanders)Crocheted repurposed fabric, screenprint, appliqué and reverse appliqué stitching8’x9’’2022 Raise/Raze and Two Drained are part of a growing body of crochet installations, usually in collaboration with Hannah Sanders, that juxtaposes ecological miscarriages with our familial bliss. Often thought of as a “home craft”, crochet aligns with the domestic, while the…
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Leftovers
Site-responsive Installation at LHUCA (with Hannah Sanders); Crocheted repurposed fabrics, woodcut, wood carving, needle felting, plush forms, and collected packing materials; 18’x12′; 2019 Leftovers and Stick/Stuck (and Remains and Gargantua in the Archives) are largely improvised, site-specific installations that incorporate detritus from the exhibition host communities with components from our larger oeuvre. The finished works…
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Stick/Stuck
Stick/Stuck; Crocheted repurposed fabric, reverse appliqué stitching, and detritus compiled from the host institution and local restaurants; 10’x27’x10′; 2023 Leftovers and Stick/Stuck (and Remains and Gargantua in the Archives) are largely improvised, site-specific installations that incorporate detritus from the exhibition host communities with components from our larger oeuvre. The finished works reference geologic strata of…