Artist Statement

My work exists at the intersection of consciousness and liberation (freedom as relational, collective, and holistic)—exploring the liminal spaces where individual identity engages with collective experience while challenging structures that constrain both. Through experimental video, installation, and written narratives, I investigate how we might transcend artificial boundaries.

In my video series "Collected Meanderings," I explored the resonance between personal memory and shared cultural patterns, creating visual dialogues that challenge viewers to recognize themselves within larger networks of meaning that often transcend dominant narratives. This work, like my installation "Swing" and video essay "Liminal," examines thresholds where transformation becomes possible, where imposed categories dissolve into more authentic possibilities.

My practice is informed by liberatory pedagogy that questions established knowledge hierarchies. As both an artist and educator, I believe in the power of creative expression to disrupt dominant narratives and reveal alternative ways of knowing that have been systematically marginalized. In "Horatio Alger Doesn't Live Here Anymore," I questioned American myths of individualism and success, suggesting instead a vision of interconnection where personal achievement is inseparable from collective wellbeing and responsibility.

The "Moving Stillness" series represents my ongoing exploration of temporal experience—how moments of apparent stasis contain dynamic potential, how seemingly fixed realities are actually in constant flux. This tension between stability and change reflects my interest in what I've called "evolutionary consciousness"—the capacity to hold multiple perspectives simultaneously while remaining critical of frameworks that privilege certain viewpoints at the expense of others.

My collaborative project "Pictures to Remember By" explores how we might create spaces where diverse perspectives can interact without erasing crucial differences or reproducing patterns of appropriation. I reject the notion that integration requires homogeneity. Some divisions are not only inevitable but necessary—particularly when they separate us from systems of oppression and extraction. My work acknowledges these necessary boundaries while still seeking connections that honor the integrity of distinct experiences and perspectives.

My written work, including the speculative fiction series "Under the Skin" and "Resonant Futures," extends these explorations into narrative form. These works imagine societies grappling with questions of connection and separation, examining how consciousness might evolve when in dialogue with living systems beyond the human. Through characters navigating the tensions between individual autonomy and collective integration, I probe the possibilities of what consciousness might become when freed from limiting frameworks while still honoring necessary boundaries. The lattice networks that appear throughout these narratives serve as both metaphor and literal possibility—representing the complex webs of relationship that sustain all life.

I believe art has the potential to be a form of consciousness research—not just expressing what we already know, but helping us discover and recover ways of perceiving, relating, and being that exist beyond limiting frameworks. My practice is an ongoing experiment in this possibility, an invitation to participate in the continuing dialogue between individual awareness and the larger patterns that connect us—the neurology that runs across experiences like the mycelium that runs under the ground.