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 intermediate sculpture course attempts to understand landscape as the overlap of various dimensions--the physical, the cultural, the social--and will investigate how materials, objects, and systems occupy and transform these dimensions. We will employ landscape as the organizing principle in the selection, production, transformation, arrangement, analysis, and imagination of objects and materials within a sculptural art practice. Each student enrolled in the course will identify a specific landscape, location, or site to examine--e.g., the kitchen, the border, the prison, the playing field-- locating a point of departure for a series of studio-based projects. Readings, screenings, slide presentations, and site visits will allow us to examine specific landscapes, from the natural to the institutional to the imaginary. In doing so, we will attempt to understanding how landscape and space shape us and how we, as artists, can use, transform, and understand the landscapes we inhabit.
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.
In this course, we will treat time as a central element in the conception, display, and understanding of materials-based art practices. While we will consider integrating sculpture with media and methods more typically described as “time-based” (such as performance, digital media, film/video), students will also be challenged to consider the potential of time, duration, and process to act upon or activate seemingly inert materials. We will attempt to propose alternatives to the idea of artworks as fixed forms and, instead, consider how objects, images, and materials might transform, evolve, decay, or accumulate over time. Through readings, discussion, and studio projects, we will examine ideas about time from a variety of perspectives (scientific, historical, musical, and cinematic, among others) and think about how these temporal modes can inform our making and lived experience of objects and art.