Paintings are designed to stand on their own as discrete objects, or to be incorporated into larger installation work.

In this exhibition, physical paintings served as ad-hoc building material in an intuitive weaving-together of various meditations on the politics of war, the climate crisis, and the difficulty of situating of the body in relationship to a devastated landscape.

Paintings helped develop the surrealist imagery that was used as a departure point to create a response to the current political moment.

Canvas stretchers serve as shelving for still life objects, which in turn become subjects for painting.

These paintings, Still Life With Percival I & II, are based on drawings of the Channels of Mars by Percival Lowell. Lowell, a noted American astronomer, put forward that these channels were evidence of life on Mars. When no further evidence of these channels was ever found, it was surmised that Lowell was drawing the back of his own cornea superimposed on the planet by a fluke of Lowell's telescope.

These paintings were used to forge connections between the built forms, the human body, and the impossibility of "universal" knowledge from a disembodied perspective.

Drawings on mylar, oil paintings on canvas, and sculptural objects were layered to create unexpected interplays between 2D and 3D perspectives.

In this large-scale structure, gallery-wall paint is directed through channels onto oil-on-canvas paintings.

The structure was built in response to the mountainous terrain around Ithaca, New York, where this work was built and exhibited.

The paintings were created "en plein air" in the woods surrounding the gallery's site in Ithaca, New York.

This work was created as the model for the painting Pieces of What.

The oil on canvas paintings, They Eat Each Other, Thinking They Are Eating Leaves I & II shown with the model they are based on

Drawings often form the basis of animations, which are then placed into sculpture on small screens. This is an animation still created as part of After Lebbeus: A Model for Drawing

Animation still created as part of After Lebbeus: A Model for Drawing. This animation was imbedded into the structure at various points and at different sizes. Responding to the emphasis on visuality, as well as the bodily qualities of Woods' drawings, this animation, based on what can be seen through closed eyes during meditation, explores the relationship between human physiology and spiritual 'visions'.

Animation still created as part of After Lebbeus: A Model for Drawing

After Lebbeus: A Model for Drawing was built in response to paper architect Lebbeus Woods' posthumous 2013 exhibition at the Drawing Center. My aim is to underscore Woods' exploration of ethics, human psychology, and the built form. The animated video, Getting Large Eye was placed at different vantage points in the installation.

The video was intended to highlight the form's connection to the human body.

The video was placed on small screens viewable from different angles in the gallery. This work is designed to take advantage of the aesthetics of working technology, including the line quality of wires.