Curated by Storm Ascher
March 16 - April 27, 2019
Kopeikin Gallery, Los Angeles, CA
paper paper came about two years after the 2016 presidential election; the works are made entirely from my archive of New York Times newspapers collected in 2016-2017. Sorting, shredding and pulpifying the paper matter, I allow fragments of text to diffuse poetically, rather than linearly. I compress the many pages from a single day’s newspaper into flat wall works, many of which also resemble frames. Leaving the centers empty, I pose the question, “What is at the core of all this?” and admit my own inability to know. I compress multiple days’ pages into individual paper tiles, which I then quilt together into modular strands and assemble into curtains that mediate how one moves and what one sees in a room. Woven into accordion-like structures, the strands may be rearranged, folded up or expanded according to their environment.
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Curated by Jessica Gaddis
July 27 - August 15, 2019
Matthewis Persen House Museum, Kingston, NY
Installed at the Matthewis Persen House Museum in Kingston, NY, these works use written text as material for constructing three-dimensional forms that interrupt the built architecture. Formails, are free-standing ritual screens made from near-daily postcard correspondence between me and my sister and poet, Anne Marie Rooney. The screens can be rearranged according to the space they are in and are translucent, allowing light to pass through them. Morningarb is made from pages of my morning journals, which I have been keeping since 2013. The pages—cut up and then “quilted together”—are not legible as prose, and yet are still recognizable as writing. Making and arranging these structures in various spaces, I propose a way of fluidly intervening within built architecture: an alternative way of navigating space, negotiating one’s behavior in it, and establishing a personal/private space within a communal/public one.
Curated by Seth Becker and Maya Strauss
January 19 - 26, 2019
Treasure Town, Brooklyn, NY
Way Out Now
Curated by Asa Hursh
June 16 - July 21, 2018
Diane Rosenstein Gallery, Los Angeles, CA
Trimflocks are quilted textiles made from fabric remnants I collected between 2015-18. The remnants, and the stains on them, are records of specific events or activities that took place in various working, social and domestic spaces. They include napkins stained during community dinners I organized; fabric scraps used as part of my marriage ceremony; paint rags from the studio; and painted marks that reference other works of mine. As quilted-together fragments, the textiles propose a way for me to materially capture my movement and activity between and within these various space, constantly in flux and overlapping.