Work that archives what led to it
Site Archive: MADE Bush Terminal is a permanent installation of five stoneware relief panels at MADE Bush Terminal in Sunset Park, Brooklyn, a campus and neighborhood that housed garment manufacturing for over a century. Each panel holds the impression of a garment tied to the site's history; Navy-issue sailor pants, an ILGWU union jacket. They preserve each garment with traces of layered making and wear. Commissioned 2026.
CERAMIC ARCHIVES
A series of studies where vintage garments are pressed into clay and fired. Fabric already keeps its own record: mends, stretch, the pattern of wear. The stoneware carries that record past the life of the cloth. An ongoing exploration of provenance, paired with site & item specific glaze studies.
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ARKHE OBJECT
Illuminated ceramic sculptures formed by releasing clay to gravity. Each incorporates gathered materials: volcanic ash from Iceland, sea glass from the Mediterranean, banana leaf, salt, kelp. Numbered and one of a kind, named for arkhe, the Greek concept of origin.
Fragments of ResPonsibility
Fragments of broken and discarded work by other ceramicists, reworked into questionably functional forms. Each piece takes responsibility for what another maker left behind.
LAYERED DRAWINGS
Drawings made in repeated timed sessions with the same models over months and years, each session layered onto the last on a single surface. As figures accumulate they dissolve toward abstraction. The drawings become records of time spent together, shaped as much by the model as the artist.
SHE COPIED ME: CAMCORDER FOOTAGE
My sister and I hiked through Eldfell, we moved until we found a non-descriptive area to paint a landscape for each other on a fragile piece of glass. The exercise was to paint one another into the landscape utilizing the same method. We wanted to show the differences between us. Even after we verbalized a strict methodology, we wielded different results.
As your body moves through a landscape that you trace, you may realise your perception always changes. As I tried and tried again to paint my sister, she moved within the landscape, holding a camera, and as a result instead of drawing one of her, I drew multiples of her. This could show us that a human being can not grasp a landscape within a painting or reproduction, or even comprehend a body in totality by drawing a linear landscape, or taking a photograph simultaneously.
“Identity and resemblance would then be no more than inevitable illusions.”
Gilles Deleuze, Difference and Repetition