In "Stretched Thin", I wanted to give physical form to the precariousness of our industrial food systems and the superficiality with which we view the land.
The work is a literal balancing act of materials: a 72-inch sheet of treated steel is forced into a "U" shape, held in place only by a fraying rope. This structure is under immense physical tension. Over this curved metal, I have stretched a pigment print of aerial farm photography. The result is a sculpture that feels dangerous—as if, in a fit of chaos, the rope might snap and the entire construction would violently undo itself.
The image itself is a collage of public domain aerial views of American farms, stitched together into a quilt-like pattern. While the pattern is subtle, it is fundamentally unrealistic. By collaging these farms into a repetitive, geometric aesthetic, I’ve stripped them of their depth, their life, and the inherent complexity of agriculture.
The title refers to more than just the physical stretching of the print. It speaks to a system—and an image—stretched to its breaking point. In service of a clean, industrial aesthetic, we have flattened the reality of the land until it feels "not right." This piece is meant to evoke that specific sense of unease: the feeling that our relationship with the earth is currently held together by a single, thinning thread.
Holding Time.
Pigment print on fabric with enamel.
36x60x10"
2025
This piece was made in-conjunction with the waterway behind my studio. Photographing the river on 120mm color film, developing the film with the same water and soaking the fabric print in river bed. After many months eventually molded over rocks from the river bank.
Plastic Landscapes
24x24x24"
Plastic bags stretched over metal armature
2024
When Humans Used Fossil Fuels, They Transformed The Earth
40x40x40” Wood, Maps, Acrylic, Tar, Shellac
2023
Using 1950s gasoline station maps and advertisements, I imagine what future generations might make of our incessant consumption of non-renewable resources and attachment to primitive technologies. This sculpture delicately hangs and gently undulates as viewers move past, reflecting presence as movement.
Untitled #1
55x72” Canvas, Plastic, Tar, Shellac, Acrylic, Enamel on Steel Frame
2023
This double-sided freestanding metal frame is draped in rigid canvas and
plastic trash bags. It’s an exploration in alternative painting and sculpture, as
well as an exercise in welding.
plastic trash bags. It’s an exploration in alternative painting and sculpture, as
well as an exercise in welding.
A World Of Plastic And Metal
24x24x24” Welded Steel Rod, Plastic, Enamel
2023
Plastic islands and new metal composites are markers of the human epoch.
This is my personal grappling with how to navigate my role in this new world.
The metal wire frame allows interaction and can be rolled, tossed, or kicked.
The interior soft plastic protrudes through the rigid exoskeleton, rendering it
a highly tactile sculpture. This is a study for a larger outdoor work promoting
spontaneous play with the refuse entombing us.
This is my personal grappling with how to navigate my role in this new world.
The metal wire frame allows interaction and can be rolled, tossed, or kicked.
The interior soft plastic protrudes through the rigid exoskeleton, rendering it
a highly tactile sculpture. This is a study for a larger outdoor work promoting
spontaneous play with the refuse entombing us.
The Maps Are Fraying
Wood, Maps, Canvas, Epoxy
2023
2023
Old maps on canvas stretched over a wooden frame appear strained as the
canvas frays to reveal a gridded structure holding it together. This was made
in response to Earth System Models and whether striving to
inject balance is a flawed endeavor.
canvas frays to reveal a gridded structure holding it together. This was made
in response to Earth System Models and whether striving to
inject balance is a flawed endeavor.