BA, Brown University. MFA, University of California-San Diego. Work exhibited at venues such as The Kitchen, Foxy Production, X-initiative, Eyebeam, the Museum of Contemporary Art (San Diego), Edith Russ Haus, and the Western Front. SLC, 2012–
Current undergraduate courses
A sculptural experience could be described as an encounter with a set of materials at a particular space and time. In this yearlong sculpture course, we will consider the elements of space, time, and material both discretely and in conjunction. The first half of the course will present students with a series of sculptural problems to be solved with a variety of material and conceptually-based strategies, examining both the categorical flexibility of the term sculpture and challenging students to push beyond their creative boundaries. In the second half of the course, each student will develop a particular research focus—an object, a material process, a space, a site, or a landscape—and delve into it through a series of self-directed studio projects. Throughout, studio work may encompass diverse media, including both conventional sculptural practices, as well as digital and time-based media, performance, and photography. Students will be encouraged to experiment, invent, and discover. Short-term focused exercises will alternate with longer-term studio projects; periods of rigid structure will complement periods of open investigation.
This course will treat machines as both subject matter and physical material with which to produce works of art. While we may begin by thinking about machines as discrete functional objects, the course will attempt to expand the definition and potential of machines in art practice. A coffeemaker might be a machine, but so might an entire building, a language, a culture. How are machines ideological, and how can ideologies function as machines? How does the mechanical confirm or contest the human? What metaphors, implied or imagined, can we uncover in a close examination of devices? These questions will fuel our investigations in the studio and be addressed through discussion, screening, and reading that ranges across disciplines. In consultation with the instructor, students will select a machine to act as a creative motor for a series of studio projects. The course will encourage and support students who wish to directly modify or otherwise hack their machines—thereby incorporating elements of physical computing, electronics, and/or computer programming—but our investigations may also integrate or otherwise approach machines with more traditional materials.