Work Samples

Rainbow, 2025

Oil on canvas mounted to papier-mâché

9" x 10"

This early study layers illusionistic color and deep black grounds, referencing both 19th-century American luminism and ecological redaction. The dual rainbow destabilizes the promise of clarity, presenting beauty as a veiled form of forgetting.

Double Rainbow, 2025

Oil on linen mounted to papier-mâché

8.5” x 10”

An early atmospheric landscape study that introduces color and affects into the redacted landscape series. Future works will be more atmospheric and mounted on a round tablet.

Longleaf, 2017 - 2024

2x4 studs, plywood sheathing, Slash pine bark, beeswax.

48” x 92” x 5”

A fragmentary architectural wall referencing fire-managed pine forests and vernacular structures. This work anchors the material language of Unnatural Silence, embodying both ruin and regeneration.

One of several small-scale paintings made from hand-made oil paint from foraged clays. These fragmented paintings reference loss, memory, and the organic erosion of time.

Selected early components from Unnatural Silence:
Initial landscape studies, handmade frames, Farrow & Ball Preference Red for the main wall color (the same color used in the National Portrait Gallery), material references, and a scale model of the Homestead installation. These elements represent foundational steps toward a larger body of work still in development.

Full Outline:

Thesis. Unnatural Silence argues that the American landscape is not scenery but apparatus zoning, subdivision grids, and rituals of upkeep that manufacture quiet and conceal conflict. Silence here is not absence but infrastructure.

Form & Materials as Theory. A low hum, calibrated to 47–63 Hz, is both a soothing and oppressive pharmakon, whose double bind is physically embodied. It resonates through the floor, evoking the domestic drone of a lawnmower, and unsettles through its constancy. Chain-link screens convey exclusion and parceling. Pressed pulp frames and domestic fragments form an archive that is an incomplete, disordered record that refuses closure, underscoring history as a scaffold of omissions rather than a seamless story.

Heterotopia. The installation recodes the gallery as a counter-site. Salvaged framing, hidden gingham scraps, and charred beams evoke a sense of familiarity. This estrangement renders the critique of the pastoral ideal immediate and bodily, rather than abstract.

Situatedness. Raised on the rural edge of Northeast Florida, I work from within the systems at issue. This position is acknowledged alongside Indigenous histories, situating the critique in material contradiction.

Lineage. The project converses with Smithson (land as system), Mendieta (body/ground), Whiteread/Parker (residue), Cardiff/Philipsz (sound), and Krauss (expanded field).

Access & Touring. Multisensory entry points (tactile audio, alt text, large print), modular sourcing, and a turnkey touring kit ensure feasibility.

Symbolism

• Trace (Derrida): Blackened grounds and charred timbers are not neutral; they are physical records of both ecological cycles and human control.

• Pharmakon: The hum is domestic reassurance and bodily disquiet at once, embodying the project’s thesis that “quiet” is engineered as a mechanism of power.

• Heterotopia: Salvaged framing and chain‑link displace “home,” making the gallery a counter-site where normal property logics are inverted.

• Rhizome (Deleuze/Guattari): Materials disperse laterally, char, pulp, bark, chain‑link forming meaning in a nonhierarchical mesh, echoing the spread of sprawl.

• Anarchive: Small redacted paintings and domestic traces refuse narrative closure, proposing fragments as the only faithful record of erasure.

Influences: Jacques Derrida's (Deconstruction, Trace, Pharmakon) concept of 'trace' is evident in the charred wood and foraged clay in my Trace series, which act as a palimpsest of the land and physical reminders of past events.

Unnatural Silence is an examination of how silence is constructed across land, culture, and national memory. The American landscape is treated not as scenery, but as a system of managed forgetting. Each work presents a redacted image embedded in a sculptural frame made of pressed pulp, clay, or ash, which registers land not as a passive setting, but as an artifact.

Core Concepts: Unnatural Silence is an immersive installation that deconstructs the pastoral ideal, using the quintessentially American sound of a lawnmower "pharmakon" (something that acts as both a remedy and a poison, in this case a sound that soothes and oppresses)to confront the "specter of progress" (the haunting presence of modernization's hidden costs) and the anxieties of a "post-natural" reality (where the line between organic and synthetic is blurred). This installation, a "heterotopia," (a space that disrupts or challenges dominant social norms like a forgotten homestead within a gallery) disrupts traditional notions of place, employing charred wood, chain-link fencing, and redacted landscape paintings as "traces" (physical remnants or signs of past events), "indexes", and an "anarchive" (a collection of fragmented and disordered memories) to explore the complex interplay of time, memory, and our evolving relationship with the environment. Focusing on the materials themselves, this exhibit invites viewers to contemplate the consequences of our actions, the fractured nature of memory, and the interconnectedness of human and non-human actors within a rhizomatic network (a system of interconnected elements without a central hierarchy like roots spreading and connecting underground), using nostalgic elements not as escapism, but as tools to examine the present.

Installation

Exhibition Requirements & Adaptability: Unnatural Silence is designed for adaptability across venues. The central homestead structure, platform, and water room layout can scale to suit spaces ranging from 1,500 square feet and up.

Ideal ceiling height: 12' + (minimum 10')

20’ x 20’ preferred footprint, but modular components allow for reconfiguration

Sound and light levels are adjustable to suit institutional acoustic and technical standards

All core sculptural materials (except paintings) can be locally sourced to reduce shipping costs

Accessibility: The installation is conceived with multisensory engagement in mind. Audio is transmitted not only through speakers but through a tactile bass shaker for those with hearing impairments. The water caustic room provides visual rhythm and calm, and the floor plan flexibility allows for wheelchair access throughout. Large-print guides and alt text for painted works can be provided upon request.

Shipping: The paintings will be created in advance and shipped directly to the gallery. All additional components, primarily framing and structural elements, will be sourced locally from standard building suppliers. A detailed shopping list and precise cut-list will be provided, allowing the installation to adapt fluidly to a range of gallery spaces and budgets.

To establish continuity across the installation, charred wood elements featured in artworks such as Longleaf and Firebreak will reappear in structural framing, tying the individual works into the broader spatial language of the exhibit. The palette will be grounded in matte blacks, earthy browns, and natural wood tones, with selective accents of green and red drawn from the Trace series and redacted landscape paintings. These restrained variations offer richness without disrupting overall harmony.

Wall colors: Starting with Farrow & Ball’s Joa’s White on the title wall (or antechamber) marking the entry, leading into saturated Preference Red in the main exhibit room(the same color in the National Portrait Gallery). The final room or exit is treated with the muted pink of Farrow and Ball’s Pink Ground, recalling historical underpainting and serving as a recall.

Audio equipment: Transmitted via a concealed audio system and bass shaker beneath the installation structure, a low, resonant, and familiar drone of a lawnmower will pulse steadily through the installation. The sound is not only heard but felt, its tremor subtly resonating through the floor.

This ambient drone replaces natural quiet with the residue of control. It marks time through repetition, echoing the inescapable rhythms of maintenance, conformity, and erasure. Like the buzz of a fluorescent light or the distant churn of a generator, it becomes both backdrop and presence.

Paintings will be arranged in varied groupings that shift between different degrees of abstraction, establishing rhythm and internal contrast. Their dark, sculptural frames, made from dark painted papier-mâché, will echo the surrounding materials and help anchor them within the environment. The interplay of blackened framing, painted wall gradients, and raw timber elements will produce a cohesive visual language throughout the exhibition.

The layout remains intentionally flexible, allowing site-responsive adjustments to scale, pacing, and flow. Ambient lighting will be supplied by wall washers or ceiling-mounted light boxes, with an emphasis on accentuating texture, material transitions, and the gradual atmospheric shifts of color and shadow across the space.

Domestic Traces: To deepen the spatial and emotional resonance of Unnatural Silence, the installation will also incorporate small domestic fragments and objects that register the quiet, often invisible labor that shaped these landscapes from within. A burned pie tin, a scrap of gingham curtain, a shattered or discolored ceramic figurine: these remnants will be embedded discreetly within the installation, whether tucked beside a structural beam, half-buried in pine needles, or affixed near a painted panel. They offer a counterpoint to the masculine-coded sonic presence of the lawnmower hum, gesturing instead toward the interior lives and affective labor often gendered and erased, that maintained the illusion of order.

Palette Notes: Ochre, charred black, raw umber, raw wood, deep earthy red, bone white.

Shipping and Assembly: The artwork will be created and shipped to you. All other materials will be sourced locally. A shopping list and assembly instructions will be provided.

Small paintings: The small landscape paintings reference the grand tradition of 19th-century American landscape painting artists, such as Asher B. Durand, Sanford Robinson Gifford, George Inness, and Thomas Moran, who framed the West through the lens of Manifest Destiny. These works interrupt rather than celebrate that vision, embedding dissonance beneath the surface. The rainbow, often a symbol of promise and renewal, is a marker, hinting at the land's beauty and the historical consequences of its conquest. These paintings will be dispersed throughout the installation, some dissolving into abstraction, while others will be fully rendered, creating a fragmented sense of historical memory within the space. By using beauty as an entry point, these works encourage reflection on what has been lost in the pursuit of the American ideal. The redacted landscapes are used to show the human connection to specific places and times.

Redacted Landscapes & Frames: The redacted landscapes are used to show the human connection to specific places and times.

The frames and surfaces appear weathered and reverent, but they carry a quiet violence. Every material in this show is a proxy for exclusion, suppression, and controlled memory.

Institutional Alignment

Unnatural Silence aligns with institutions that support immersive, material driven installations exploring land, memory, and the shifting American ideal. Its intersection of painting, sculpture, and sound expands contemporary conversations around landscape and historical mythmaking. Artists such as Robert Smithson, Ana Mendieta, and Maya Lin have explored similar ideas of land as a site of memory and transformation. The use of found materials and industrial remnants echoes the approaches of Cornelia Parker, Rachel Whiteread, and Theaster Gates, repurposing remnants of destruction into something new and innovative. Sound elements, such as the persistent lawnmower hum, create an immersive psychological space similar to that of Susan Philipsz and Janet Cardiff's work, drawing from both historical and contemporary influences.

Proposed Public Engagement (Optional, Site-Specific):

Sensory Sound Walks: Guided walks around the gallery or nearby green space to explore the ambient soundscape, echoing the exhibition’s focus on the “hum” of progress.

Archival Storytelling Circles: Community sessions where visitors share local or familial stories of environmental or suburban change.

Community Sound Collection Lab: Visitors record ambient sounds or sonic memories to contribute to a living sound archive, forming a foundation for future phases.

Project Evolution: The Three-Phase Trajectory

This project is designed as a multi-phase body of work, evolving across exhibitions and contexts while remaining grounded in its core materials and themes. This project is the first phase of an ongoing series that explores land use, memory, and sonic ecology. Additional phases are in development, with the long-term goal of presenting at multiple venues, publishing critical documentation, and reflections. A small catalog is being considered to accompany Phase II or Phase III, featuring essays, images, and dialogues that surround the work.

Phase I – Unnatural Silence: A sensory core installation confronting the sound of progress, built from charred wood, chain-link fencing, and redacted landscapes.

Phase II – (To be titled): An expanded installation with scent components.

Phase III – (Yet to be titled): A quieter, archival culmination, turning inward to explore memory, echo, and material trace through oral histories, drawings, and poetic artifacts, and the natural world.

This trajectory ensures that the work continues to evolve across spaces, audiences, and time without becoming predictable.

Budget – Unnatural Silence

**The project is already underway, with $10,000 invested in materials and preparatory work to date.

Core Production Costs

• Materials: 6 Paintings (canvas, linen, oils, stretchers, grounds, pigments): $2,000

• Materials: Installation (structure, fencing, wood): $1,800

• Materials: Sculptural Framing (pulp, clay, sealants): $1,200

• Audio Equipment: (subwoofer, tactile transducer, amp): $1,200

• Lighting: (ambient wall washers or fixtures): $1,000

• Paint + Scenic Finishes: (wall colors, tools): $600

• Shipping: Paintings only (crating + insured delivery): $1,500

• Fabrication Labor: (install assistant[s]): $2,500

• Travel + Lodging: (artist installation trip): $1,800

• Photography / Documentation: $1,200

• Contingency: $1,200

Total Base Budget: $15,000

Touring kit, cut list, and sourcing guide available on request.

Tiered Support

The tiered budget scales institutional impact rather than padding production. The $15k core funds a complete, tour-capable installation (fabrication, audio, 6 framed paintings, documentation); $25k–$40k adds distribution and a formal publication plus a turnkey touring kit; $60k expands scholarship, accessibility, and community archiving so the host retains durable assets (catalogue, film, oral histories) beyond the run of show.

$15,000 — Core Installation (baseline)

• Fabrication + install assistance

• Audio system (sub + transducer) calibrated on site

• 6 framed paintings

• Photo documentation (still images)
  Deliverable: fully installed show + stills

• ASL-interpreted video + audio descriptions

$25,000 — Core + Distribution

• Everything above, plus up to 12 framed paintings

• Short documentary (6–8 min), captions + transcripts

• Designer for labels/handouts; educator PDF
  Deliverable: show + stills + film + educator pack

$40,000 — Touring Kit + Concise catalogue

• Everything above, plus

• Touring kit (tech rider, cut list, assembly guide, crate plan)

• Catalogue (24–40 pages), 2 commissioned texts, color images)

• +2 framed paintings (total 14)
  Deliverable: turnkey touring asset + publication

$60,000 — Impact & Research (surplus tier)

• Everything above, plus

• Expanded catalogue (multiple essays, additional commissioned texts, full-color plates)

• On-site photographer + color proofs

• Travel micro-fund to record local oral-history session for the host institution’s archive
  Deliverable: lasting institutional assets (book, accessible media, community record)

Acknowledgement

This project recognizes that the land informing its vocabulary has long been inhabited by Indigenous peoples. Unnatural Silence is rooted in a critique of inherited structures of erasure, geographic, social, and ecological, and this recognition is foundational to its ethos.

This project emerges from a position of contradiction of being shaped by the very systems it critiques. As a white artist shaped by the contradictions of American land use, I’m acutely aware of how my identity may complicate the reception of work that interrogates land, silence, and systemic erasure. But rather than speaking over others, I’m interested in working from within and with others. This exhibit explores how inherited structures of whiteness and control reproduce themselves through aesthetics, maintenance, and myth. The work does not offer a resolution but instead it insists on unease. If there is any claim here, it is not to moral clarity, but to the responsibility of reckoning materially, historically, and bodily, with the landscape I come from.