COMPLETELY
Acrylic paint, acrylic modeling paste, foam, cardboard
20” x 12” x 24”
2026
Exploring physical vulnerability within intimate relationships.
Installation at Nuisance Gallery
April 2026, New Brunswick NJ
Photographed by Ian Byers-Gamber
Click here for detail video.
ENDURING DEVOTION
Ceramic
Varying Dimensions
2025
‘Enduring Devotion’ explores the innate desire for human connection and its profound impact on the self and soul. Wearable as a ‘suit of armor,’ this archaic-like sculpture features a protruding heart protected by a rib cage. Two pieces connect around the neck to support the cage, followed by a wearable spine and arm bands.
Installation at Mason Gross Galleries, Co-Curate Show “Elsewhere”
September 2025, New Brunswick NJ
Photographed by Izzie Alvarez and Sarina Saychaleune
GIRLFRIEND
Burlap, chicken wire, plaster, paint, chair
28” x 38” x 24”
2023
‘Girlfriend’ is a physical manifestation of romantic relationships as a burden and the idea of toxicity from the female perspective. This sculpture explores the idea that entering a relationship is viewed as becoming a property linked with another person, yet the idea of nothing is equally as daunting.
Installation at Mason Gross Galleries, Co-Curate Show “MOXIE”
September 2023, New Brunswick NJ
CROW’S FEET
Plaster, wire, window screen mesh, string, duct tape, burlap, feathers
1’ x 5’ x 1’
2024
‘Crow’s Feet’ explores the transformation of self-identity and self-perception while aging. Examining the bonds formed through community, the 5-foot sculpture is inspired by a murder of crows and their circular flight patterns - sometimes viewed as threatening, but overall a display of union and transformation. With a ribbed surface resembling the pattern of a crow’s foot, the expression is also used to describe wrinkles that form around the outer corners of eyes; similarly sometimes perceived as negative, but a physical testament to years of smiling. The viewer is encouraged to reflect on the bonds that form their personality, recognizing that change is natural and appreciating the relationships that propelled their own identity forward.
Installation at Mason Gross Galleries, Co-Curate Show “Ouroboros”
September 2026, New Brunswick NJ
MOTHER
Cardstock, cardboard, glue, yarn, wax
220” x 58 “ x 48 “
2022
Inspired by the myth that storks carry babies to lonely partners, this project explores the relationship between a mother and child. Bringing focus to the sacrifice of family, viewers interpret the piece as they do their relationship with their mothers; is the stork trapped, trying to violently get to its egg, dead and leaving their child abandoned, or simply protecting its child?
Made of a cardboard structure, covered in individually cut and layered paper feathers, the stork rests on a crocheted net with a broken neck attached to its wax-covered beak. Below is a clay egg wrapped in a red satin blanket with a poem about the piece.
EXIT(SELF)
Foil, joint compound, paper mache clay, paint, wood
30” x 2” x 48”
2025
Precursor to “EXIT(FLOCK),” exploring constraints around the self.
Installation at Mason Gross Galleries, Undergraduate Annual
October 2025, New Brunswick NJ
Photographed by Izzie Alvarez and Sarina Saychaleune
LOVE AS FLESH AND BONE
Burlap, chicken wire, plaster, paint
Varying Dimensions
2024
“Love as Flesh and Bone / The Body” works as an extension to “girlfriend,” following the idea of a personality and how it’s affected by romantic relationships from an inside and outside perspective. This piece is specific to the disconnect between the physical body and the emotional. The full interpretation is up to the viewer, but the ‘bones’ and ‘flesh’ intermingle, both co-dependent and independent. It has a slightly lighter approach than its predecessor, more of an ‘owing’ quality than ‘owning.’
CAREGIVER
Muslin, foam, wood, apples, apple pie scent
Varying Dimensions
2023
WIP
CONTACT
Driftwood, seashells, pins, contact lenses, faux pearls, glue
1’ x 10” x 6”
2024
Totaling about 100 contact lenses, this project explores the idea of losing eyesight throughout age, something somewhat elegant and frightening. The concept of loss could be both physical and metaphorical, prompting a shift in how one perceives the world. The silver color of the found driftwood signifies reflection, introspection, and change, adding a sense of elegance and sophistication to the organic nature of the driftwood. Merging the natural with the refined, pearls symbolizes wisdom acquired through experience, suggesting that even amidst change or loss, there's an opportunity for personal growth and the cultivation of inner beauty.
120 HOURS
Acrylic, acrylic paint
120” x 3.5” x 2.5”
2024
Obsession would often take priority over basic functions, leaving me exhausted and translating into lazy and rushed work. To increase my productivity and achieve a balanced lifestyle within class, work, and social life, I obsessively tracked my days by the hour for the past seven months.
The color palette for this piece follows a similar theme in my work of bodily representation with muted colors alluding to aspects of the human body (blood, sweat, ect.). Each color represents a generalized task: black for class, red for work, clear for sleep and miscellaneous, yellow for social, tan for homework, and white for personal work. Displayed in a hallway, “120 Hours” is meant to be experienced in motion, walking past the piece and viewing the timeline chronologically. While in motion, the clear 1/4” acrylic half-circles transform and reveal a clear, gridded color.
I believe the piece is unfinished - ideally, a larger version would span across a hallway, with the acrylic pieces glued flush together. Possibly experimenting with animation engraved into each panel would be interesting as well.
IMPRIMATUR
Pool noodles, plaster, paper towels, paint, crayon wax, soccer ball, duct tape
48” x 63” x 48”
2023
"Imprimatur" follows the story of a never-ending pursuit that may never result in true satisfaction or fulfillment.
