Dispossession, 2018
Glass, enamel. steel, concrete, neon. mirrors
Site-specific installation at Bellevue Arts Museum, Bellevue, WA
Photography: Alec Miller Photography

“Dispossession” is based on objects found/taken/lost in the border crossing between the US and Mexico. Although that imagery is the specific inspiration, it is meant to evoke dispossession in general- objects lost, discarded, and forgotten through uncertainty and turmoil.

When researching the project I was moved by the region’s tradition of roadside shrines spontaneously created to memorialize the dead and missing. In response, I have created my own memorial which offers water for the crossing and a tribute to the hardships of the journey.

Dispossession (detail), 2018
Glass enamel screen printed on steel, each panel 8″ x 10″

The glass enamel prints of found objects were intentionally degraded to evoke weathered roadside signs and improvised retablos.

Breakdown, 2017
Glass, prints, printshop, neon, video
Site-specific installation @ de Young Museum, San Francisco, California

I was an artist in residence at the de Young Museum in San Francisco, California from April 5 – 30, 2017. My residency was an evolving work in progress combining video with prints on glass, steel, and paper as well as diagnostic and organizational tools such as lightboxes and display cases.

Each day on my way to the museum I picked up an object and used that to create a print. The prints were made in the museum by photocopying the object, then using the photocopy to make a print, and then photocopying the resulting print. I continued this process until the image completely broke down. Additionally, I collaborated with the public to create a series of screenprints to give away.

Breakdown (alternate view), 2017
Glass, prints, printshop, neon, video
Site-specific installation @ de Young Museum, San Francisco, California

Found Object Wall, 2017
Found objects, printshop

For this portion of the project, I collected an object each day of the residency and then used that object to create a series of xerox transfer prints through repeated photocopying.

Create the Condition You Describe, 2017
Neon, steel
7″ x 84″ x 2″

This piece was installed in the window of the gallery during my residency at the de Young; it is a tribute to the San Francisco group The Diggers and their assorted ‘free’ community projects and performances. These ranged from free stores that operated on an exchange system to offering free food in Golden Gate Park to costumed parades celebrating ‘the death of money.’ This motto of theirs – ‘create the condition you describe’ – encapsulates a philosophy of creating alternate social and economic systems through example.

Groundwork, 2014
Glass, aluminum, wood, steel, iron, neon, found objects
20′ x 60′ x 120′

Site-specific installation at the historic Pullman Factory in Chicago. The project was in two parts: Part 1 was an iron pour on the factory grounds where members of the community were invited to participate by creating tiles. Part 2 was a site-specific art installation within the Clock Tower and Administration Building. (See Public Art/Interactions section of Portfolio for images of iron pour and community workshop.)

“The iron pour brings to life the community and foundry history of the factory in a dramatic and fiery way- an exciting chance for the public to participate in and learn about the processes that used to happen within the factory. Remnants from the pour create a site-specific installation within the factory, supplemented by other found and existing works. This more reflective installation offers an outside perspective on the spirit that built Pullman and the events that lead to its present state.”

Groundwork (detail), 2014
Kiln cast and printed aluminum
48″ x 48″ x .5″

The end of the Pullman line was near my studio in Oakland- this piece was made by taking a mold of the ground there and casting it in aluminum. The repetitive work of manufacturing tends to leave consistent marks and traces on the ground- by casting these I wanted to draw attention to these usually invisible patterns.

Residual, 2011
Handmade paper
Each 8″ x 10″

Each piece was made by creating two sheets of paper, one of which was then predominantly washed away. These two pieces were then sandwiched together to create a joined memory. The imagery was created by placing found objects on top of paper pulp and then using water to wash away the pulp around the objects. Cumulatively they are meant to suggest a wall of disappearing text or an alternate form of language.

Residual (detail), 2011
Handmade paper
Each 8″ x 10″


Evidence, 2017
11″ x 30″

Correspondence, 2011
Lithograph on kiln formed glass, slate, chalk, pencil
20” x 30” x .5”

Resuscitate, 2010
Lithograph on kiln formed glass
17″ x 20″ x .25″

Resonance, 2011
Printed and engraved glass
10 x 20 x .5 inches

Transient, 2009
Etching and aquatint
24″ x 35″

Systemic, 2008
Hand-dyed lithographs
each 7″ x 30″

Systemic (detail), 2008
Hand-dyed lithographs
each 7″ x 30″

Till, 2002
Etching & aquatint
15″ x 22″


Community Iron Pour for “Groundwork” installation

Community Workshop for “Groundwork” installation

A multimedia slideshow produced by the Chicago Tribune and Pete Souza in association with the article “A ‘Wake’ for the Dead in Iraq,” Chicago Tribune, Sunday, May 28 2006.

Phyllis Stigliano Gallery, Brooklyn NY
Memorial Day Installation, 2006

Brooklyn Public Library, Central Library, Lobby Gallery
October 3, 2006 – November 26, 2006

A memorial to the US soldiers and Iraqis who have died in Iraq. First installed at Phyllis Stigliano Gallery in Brooklyn, NY, and then remounted in the Brooklyn Public Library’s lobby gallery.

Wake, 2006, installation at Brooklyn Public Library, Brooklyn NY, photo by Phyllis Stigliano