about
b. 1995 Silver Spring, MD
Education
2026 Post-Baccalaurate – Ceramics
Montana State University Bozeman
2022 Bachelor of Fine Arts – Painting
Hunter College
2017 Bachelor of Science – Computer Science
University of Maryland, College Park
Current Solo Exhibition
2026 Edges
Dean’s Gallery
Montana State University, College of Art and Architecture
Bozeman, MT
Group Exhibitions
2025 Ceramics Guild Show
The Exit Gallery
Montana State University
Bozeman, MT
2025 A Kin to Clay, Call for Art
Tinworks Art
Bozeman, MT
2023 The M Show
Parsons the New School
New York, NY
2022 Open Tab, BFA Degree Exhibition
Bertha and Karl Leubsdorf Gallery
Hunter College
New York, NY
2019 Pop-Up Art Show
The Canvas by Querencia Studio
Hunter College
New York, NY
Artist Statement
Empty architecture, shadows, and screenshots are my starting point – imagery that conjures vacancy, the placeless in-between. I am drawn to contrast, edges, and boundaries. The work is about oscillation and the existence of multiple truths at once. A technological mediation of image into material, aiming for an elevation of the mundane.
There is an initial artifice to the memes: facile absurdity, saccharine positivity, or escapism, but beneath is a current of sincere longing and levity. I take something ephemeral and common, almost crass or cringe, created in haste for instant, disposable consumption, and spend hours rendering it in the fragile permanence of clay.
My process is time-intensive, detail-oriented, algorithmic, and inefficient. I create my own rules and turn myself into a human printer. I filter images into halftone or pixelated patterns, and I'm interested in the way the material creates analogue from this binary of dark and light.
To apply my images to surfaces, I follow lines using a projector as a guide; design stencils with outdated software; carve wooden molds; and transfer multiple silkscreened images. In other work, I layer clay using the nerikomi technique, integrating the pattern into the fabric of the material.
No matter how mechanical I try to be, there’s always a trace of the hand or tool in the clay. Clay remembers and cracks, hinting at the distortions in our perception. I’m interested in pushing material to the edge of its capability. Loss of image clarity is inevitable, but a feeling remains. Sometimes I distort a picture so much, no one can guess what it started as, and I like knowing the secret.
My aim is for my work to communicate the state of not knowing, to make transitory phases permanent. I search for something within the vacancy and ask why the emptiness is strangely comfortable.