What A Time to Be Alive?; organized by myself
The End; screenprint and intaglio on Rives BFK with airbrush; edition of 16; 11 x 14 in.
I asked artists to respond to events of 2020 and to predict their vision of the coming year, reflecting on feelings of futility but also hope.
My edition aimed to portray feelings of aimlessness and frustration over institutional issues in the U.S. spanning racism, health, and environmental destruction, as well as the resulting inaction from many who simply say “the end is coming, nothing to be done”. I find comfort in the ones closest to me as we attempt to navigate together. I become stronger through my process of creation and artmaking.
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Flux; screenprint on paper and sewn muslin with collage; varied edition of 20
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Included in Chimeara: Multimedia in Print organized by Ivy Brenneman
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This exchange was a part of the 2022 SGCI Conference in Madison, WI
Supporting Indigenous Sisters- An International Print Exchange; organized by Melanie Yazzie and Catherine Prose
Probable Fear. Screenprint on BFK Rives paper. 15x19 in. 2021.
This portfolio was created to help begin conversations on many levels about missing and murdered Indigenous women. The images from all the women artists act as an advocacy for change and for voicing this dark present history.
Probable Fear illustrates my personal dealings with a haunting feeling of inevitability regarding violence towards my body and my personhood. Sexual assault and violence began to feel like an ever-present, unstoppable threat, affecting the ones I love and slowly closing in on me. This piece depicts the resulting feelings of fear and defensiveness, with areas of magnification to reflect the groups of women that deal with much higher rates of violence inflicted upon them.
https://www.nativewomenswilderness.org/mmiw
https://www.niwrc.org/resources/topic/missing-and-murdered-native-women
Hand, Eye, and Heart Vol. 11; organized by Eve Kruger
Jubilee; screenprint on Rives BFK with airbrush; edition of 20; 11 x 14 in.
This print is a reminder of the joy, power, and pride that emanate from art-making, even though they are often overshadowed by deadlines, comparisons, and overthinking. The title of this piece references the album of the same name by the band Japanese Breakfast: the transcendent opening track Paprika embodies what it feels like for me to revel in creation. I’ve fused myself with the stylized figures that populate much of my work, figures that frequently reach out and seek something greater.