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artist studio of repurposed things
recent work
Through a lens of environmental sustainability, my work reincarnates the discarded, transforms the used, and celebrates biological structure to draw attention to the human relationship with the natural world.
The Bed We Made (2024)
Cut birch and aspen tree branches, twigs, pine needles, leaves, grape vines, dried grasses and flowers, kapok tree pod fiber, fallen tree seed pods, paper leaves, human hair, telephone cables, kiln coils, bicycle innertube, wool and cotton fabric scraps, yarn, jute twine, hand-pressed recycled paper, 91” x 98” x 81”
The Bed We Made incorporates natural materials and remnants of human discards that represent the conveniences of heat, transport, and communication. Metaphorically, it embodies the adage that we must bear the consequences of ecologically destructive human behavior and imagines a near future tipping point of living symbiotically rather than parasitically. The nest’s resident is conspicuously absent.
The Bed We Made incorporates natural materials and remnants of human discards that represent the conveniences of heat, transport, and communication. Metaphorically, it embodies the adage that we must bear the consequences of ecologically destructive human behavior and imagines a near future tipping point of living symbiotically rather than parasitically. The nest’s resident is conspicuously absent.
Silent Spring (homage to R.L. Carson), 2024
hand-pressed recycled papers, embossed with vegetation and bark texture, 56” x 44” x 2”
Silent Spring pays homage to biologist Rachel L. Carson, whose work revealed the hazards of pesticides and pollution, sparking global environmental awareness. In sheets of recycled paper, I record various reincarnations of the life of trees as stoic human neighbors and home to birds and insects.
Silent Spring pays homage to biologist Rachel L. Carson, whose work revealed the hazards of pesticides and pollution, sparking global environmental awareness. In sheets of recycled paper, I record various reincarnations of the life of trees as stoic human neighbors and home to birds and insects.
Everything But the Carbon Sink [no.4]
Hand-pressed embossed recycled paper
2023
2023
Everything But the Carbon Sink (no.5)
embossed, hand pressed recycled paper, pulverized oak galls, 56"x44"x2', 2024
The Manatees are Starving
hand-pressed recycled paper, dupioni silk fabric scraps
30"h x 22"w x 1"d
2023
30"h x 22"w x 1"d
2023
Death & Taxes
Multi-media installation
(birch tree branches, architectural remnants, paper clay, recycled paper, found, repurposed objects
12'h x 10'w x 4'd
2023
(birch tree branches, architectural remnants, paper clay, recycled paper, found, repurposed objects
12'h x 10'w x 4'd
2023
Death & Taxes (detail)
hand-pressed recycled paper horse skull, twigs and pine needles
12"h x 16"w x 7"d
2023
12"h x 16"w x 7"d
2023
Fragmented Landacape (no.1)
Hand-pressed cotton paper, tree branch pieces, twill tape, grape stake, clothespin, India ink
28h x 31w x 2d
2023 (sold)
Like water across crop fields, black ink seeps into the surface of a hand-pressed paper and is torn into grid segments emulating land conquest and subdivision by its victors for perpetual servitude. Created following a trip through California’s Central Valley, I was reminded how each contrived parcel of earth has disrupted and supplanted social, political and natural geographic frontiers over time.
28h x 31w x 2d
2023 (sold)
Like water across crop fields, black ink seeps into the surface of a hand-pressed paper and is torn into grid segments emulating land conquest and subdivision by its victors for perpetual servitude. Created following a trip through California’s Central Valley, I was reminded how each contrived parcel of earth has disrupted and supplanted social, political and natural geographic frontiers over time.
Seapod
Paper clay, reclaimed & unfired
A raw, paperclay vessel reminiscent of a sea sponge is an important reminder of the oceans’ abilities to capture and hold carbon dioxide in their depths.
19h x 18w x 16d
2023
A raw, paperclay vessel reminiscent of a sea sponge is an important reminder of the oceans’ abilities to capture and hold carbon dioxide in their depths.
19h x 18w x 16d
2023
Drifting
recycled, hand-pressed paper, sisal twine
12'l x 5'w x 3'h (installed)
2023
"Drifting" is a collaborative multi-media installation with video & sound projection by Jaya Darriet over recycled, hand-pressed paper; 25 paper 'leaves or boats' hanging at different heights from the ceiling create a floating, uneven projection surface and immersive, contemplative environment.
12'l x 5'w x 3'h (installed)
2023
"Drifting" is a collaborative multi-media installation with video & sound projection by Jaya Darriet over recycled, hand-pressed paper; 25 paper 'leaves or boats' hanging at different heights from the ceiling create a floating, uneven projection surface and immersive, contemplative environment.
Fragmented Landscape (no.2)
hand-pressed recycled paper, mason stain pigment
56h x 44w x 2d
2023
This Summer’s journeys found me traversing the highways of California’s Central Valley and adventuring to southern Texas, and neither trip would have been complete without enduring the intense temperatures of the arid Southwest. In a daze of repeating grids, agricultural landscapes have been cut into the natural contours of the earth—all segments of land conquest and subdivision by its victors. In perpetual servitude for livestock, grapes, nut trees, or cotton, these land uses sponge up water from invisible aquifers and leave a dry crust surface. Pavement markings, fences and plowed fields stretch out before you in long straight lines. Becoming lost in thought, these mesmorizing patterns streaking past me—and perhaps the presence of a border wall or reservation—generated an awareness of how each contrived parcel of land has disrupted and supplanted social, political and natural geographic frontiers over time.
56h x 44w x 2d
2023
This Summer’s journeys found me traversing the highways of California’s Central Valley and adventuring to southern Texas, and neither trip would have been complete without enduring the intense temperatures of the arid Southwest. In a daze of repeating grids, agricultural landscapes have been cut into the natural contours of the earth—all segments of land conquest and subdivision by its victors. In perpetual servitude for livestock, grapes, nut trees, or cotton, these land uses sponge up water from invisible aquifers and leave a dry crust surface. Pavement markings, fences and plowed fields stretch out before you in long straight lines. Becoming lost in thought, these mesmorizing patterns streaking past me—and perhaps the presence of a border wall or reservation—generated an awareness of how each contrived parcel of land has disrupted and supplanted social, political and natural geographic frontiers over time.
Drifting
recycled, hand-pressed paper, sisal twine
12'l x 5'w x 3'h (installed)
2023
"Drifting" is a collaborative multi-media installation with video & sound projection by Jaya Darriet over recycled, hand-pressed paper; 25 paper 'leaves or boats' hanging at different heights from the ceiling create a floating, uneven projection surface and immersive, contemplative environment.
12'l x 5'w x 3'h (installed)
2023
"Drifting" is a collaborative multi-media installation with video & sound projection by Jaya Darriet over recycled, hand-pressed paper; 25 paper 'leaves or boats' hanging at different heights from the ceiling create a floating, uneven projection surface and immersive, contemplative environment.
NOAA's Arc (National Oceanic & Atmospheric Administration)
reclaimed metal fence (from the Yellowstone River floods), paper clay
48”h x 96”l x 46”d
2023
Scavenged from the banks of the Yellowstone River after snow melt floods in 2022, a large metal wire fence clutches white paper clay ceramic strips in its twisted gridded form. Named after the government agency designed to forewarn America of extreme weather conditions, this sculpture is a stark reminder that climate change is not a politically divisive construct of the future.
48”h x 96”l x 46”d
2023
Scavenged from the banks of the Yellowstone River after snow melt floods in 2022, a large metal wire fence clutches white paper clay ceramic strips in its twisted gridded form. Named after the government agency designed to forewarn America of extreme weather conditions, this sculpture is a stark reminder that climate change is not a politically divisive construct of the future.
NOAA's Arc (National Oceanic & Atmospheric Administration)
reclaimed metal fence (from the Yellowstone River floods), paper clay
48”h x 96”l x 46”d
2023
Scavenged from the banks of the Yellowstone River after snow melt floods in 2022, a large metal wire fence clutches white paper clay ceramic strips in its twisted gridded form. Named after the government agency designed to forewarn America of extreme weather conditions, this sculpture is a stark reminder that climate change is not a politically divisive construct of the future.
48”h x 96”l x 46”d
2023
Scavenged from the banks of the Yellowstone River after snow melt floods in 2022, a large metal wire fence clutches white paper clay ceramic strips in its twisted gridded form. Named after the government agency designed to forewarn America of extreme weather conditions, this sculpture is a stark reminder that climate change is not a politically divisive construct of the future.
Glacier
Glacier
recycled paper pulps, cedar charcoal, grass hay
56'h x 44"w x 1”d
2023 (sold)
Melting and shrinking glaciers manifest as rising sea levels and hidden sources of greenhouse gases such as methane, the consequences of human-caused climate change. In this work, recycled paper pulps of different origins flow into each other like frozen landscapes revealing holes in permafrost soils and bubbling groundwater springs.
recycled paper pulps, cedar charcoal, grass hay
56'h x 44"w x 1”d
2023 (sold)
Melting and shrinking glaciers manifest as rising sea levels and hidden sources of greenhouse gases such as methane, the consequences of human-caused climate change. In this work, recycled paper pulps of different origins flow into each other like frozen landscapes revealing holes in permafrost soils and bubbling groundwater springs.
Acid Rain
Repurposed umbrella cane, recycled paper, black ink
30"h x 36"w
2022
30"h x 36"w
2022
Everything but the Carbon Sink (no.1)
Embossed recycled paper with clay slip
44'h x 56"w x 2”d
2022
The many years of a California live oak are recorded in my recycled, hand-pressed paper. This fallen specimen succumbed to a wildfire. Its cut trunk now provides habitat; its molded cross-cut sections provide an embossed archive that pays tribute to its life of sequestered carbon.
44'h x 56"w x 2”d
2022
The many years of a California live oak are recorded in my recycled, hand-pressed paper. This fallen specimen succumbed to a wildfire. Its cut trunk now provides habitat; its molded cross-cut sections provide an embossed archive that pays tribute to its life of sequestered carbon.
Raw Earth
raw recycled clay, vintage rake
68"h x 18"w x 7"d
2022
Clay worms are the visual metaphor for the material’s origins and hold center stage to the earth cycle of biological decay.
68"h x 18"w x 7"d
2022
Clay worms are the visual metaphor for the material’s origins and hold center stage to the earth cycle of biological decay.
The Outpost
Embossed recycled paper, charred wood, termites, charcoal, cotton fabric scraps
46”h x 28”w x 2.5”d (each)
2023
A construction site’s lumber pile and a sheet of paper are all reincarnations of the life of a tree with decomposition and fire ultimately cycling sequestered energy back into the earth.
46”h x 28”w x 2.5”d (each)
2023
A construction site’s lumber pile and a sheet of paper are all reincarnations of the life of a tree with decomposition and fire ultimately cycling sequestered energy back into the earth.
On the Fence
Vintage wire fencing, cheesecloth, muslin fabric scraps
45h x 52w x 11
2022
Torn and twisted by the elements and the years passed, salvaged fencing material from a creek cleanup is woven with common cloth fabrics, holdovers from a farmhouse lifestyle. As if caught by the wind, what was once a boundary is turned into a fleeting memory of local history.
45h x 52w x 11
2022
Torn and twisted by the elements and the years passed, salvaged fencing material from a creek cleanup is woven with common cloth fabrics, holdovers from a farmhouse lifestyle. As if caught by the wind, what was once a boundary is turned into a fleeting memory of local history.
Carbon Buttprint [no.2]
recycled paper, metal & wire
7’w X 7’h X 3’d
2022
Please wipe responsibly.
7’w X 7’h X 3’d
2022
Please wipe responsibly.
Fire Box
Raku glaze-fired ceramic tile, vintage barbed wire
30"h x 37"w x 24"d
2022
30"h x 37"w x 24"d
2022
Le Forêt
charred wood beams, termites
dimensions vary up to 16’l
2022
dimensions vary up to 16’l
2022
U.S. Energy & Infrastructure
recycled paper, acrylic paint, rusted wire
10"h x 13”w x 13”d
2022
10"h x 13”w x 13”d
2022
@LADWP1 Water Conservation Plan (L.A. Dept. of Water & Power)
GLAMFA 2023
Installation for Greater LA MFA Exhibition, CalState Long Beach
48"h x 78”w x 10”d
repurposed hose pieces & snapped chalk line
2023
Installation for Greater LA MFA Exhibition, CalState Long Beach
48"h x 78”w x 10”d
repurposed hose pieces & snapped chalk line
2023
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