CV:

Exhibitions

2010 DIY, Dash Gallery, NYC
2010 Second Wind, Arch Collective, Brooklyn, NY
2010 Add Art online exhibition, addart.com
2009 Goodnight Analog, Available Space, Brooklyn, NY
2009 Oscillate Wildly, Vaudeville Park, Brooklyn, NY
2008 Something for the Commute, Brooklyn Fireproof, Brooklyn, NY
2007 Solo Exhibition, Creative Arts Workshop Installation, New Haven, CT
2006 Model Citizens, Artspace, New Haven, CT, curated by Michael Oatman 
2005 MFA Thesis show, Yale University, New Haven, CT

Education

2005 Yale University Master of Fine Arts, painting 
2002 University of Tennessee, Knoxville, TN, Bachelor of Fine Arts, painting, magna cum laude 

Honors and Awards

2005 Vermont Studio Center Fellowship Award
2005 Alice Kimball Traveling Fellowship Nomination 
2004 Schickle-Collingwood Prize
2002 Outstanding Senior Scholarship
2002 Annual student Exhibition, Award
2002 Liquitex Excellence in Art Award
2001 Buck Ewing Undergraduate Scholarship

Residencies

2005 Vermont Studio Center

Publications

Resurrection, curated by Jon Santos

Reviews

Art Review: Issue 19, February 2008 http://publishing.yudu.com/A66av/artreviewissue19/resources/75.htm
Vaudeville Park Review 2009: http://oscillatewildlyexhibition.blogspot.com/

Statement:

My current work is focused on paintings that operate in three-dimensional space. The forms in the paintings are built using painted sintra pvc material attached to structures that have the appearance of construction scaffolding or understructures. I cut, route, weave, paint, and combine forms with the sintra to compose the paintings.

One effect of these pieces is a skewed sense of scale and proportion. Perspective is confused by an intersection of forms that appear to respect gravity with those that defy it. Many of the forms interact with one another through an implied kineticism.

These pieces are fueled by the idea of the past future, or past visions of a future that promises to contain the most desirable advances in technology. Science fiction versions of machines and prospective devices play out in the paintings' components, while the interpretation of the whole remains elusive. The muted-but- bright palette is derived from predictions of the future: from Cold War and Space Race propaganda posters, advertisements for 60's household products and lifestyle, or directly from Futurist, Cubist, and Bauhaus art of the early 20th century.

Informed by technology, machinery, and the urban environment, the paintings form conceptual loops- from analog to digital and back again. Möbius strip collages of solar panels, space equipment, computer processors, virtual networks, and technological waste explode the form of painting into a landscape of uncanny architectures. Some of the forms seem to predate the current period of design where our technological tools and devices relate to our bodies and sensibilities, to our touch. In this way, the work speaks to the morphology and fluidity of the contemporary landscape.