Sensitive to the increasing power that digital, virtual, and augmented realities command, I create site-specific installations grounded in real space, analog material, and the human body. My paperworks and paintings have tactile and built-up surfaces, countering the way screens flatten the texture of our world. Those which are suspended like curtains, slip between being 2D and 3D structures, further resisting their capture by digital means and implicating the viewer’s body as they move around and between them. While my imagery is abstract, I reference specific technological structures that have come to condition how and what we see, including framing devices, windows, “the cloud,” scrolling, pixilation, and tiles the size of laptops and phones. I use materials that hold singular and analog histories of place and time—newspapers, discarded fabric, printed matter—as both a source and an actual component in the work. For the latter, I cannibalize these materials into new forms through the labor-intensive processes of pulpifying, pouring, molding, collaging, stitching, pigmenting, and painting. The resulting works are embedded with my touch and my body. As I then embed them in real space, the changing conditions of light, airflow, sound, and human movement activate them further. It is in this dynamic interplay between my own embodied making process, the site’s conditions, and the viewers’ physical encounter with them, that my work breathes.