in the aftermath of disturbance, what sediments remain? the common visualization of entropy is a scattering over time. a measure of disorder and randomness. degradation by erosion, decay, age - exacerbated by globalized industry and extractive capitalism  - leaves us swimming amidst the fragments of our built world. material becomes atomized beyond recognition and utility. I am imagining the choreography of entropy as entanglement. a disorder of parts that become indistinguishable from each other, moved by currents and bound by tension to form something new. a nest, a basket, a paper, a cluster, a clump.

sea weaving
4-color risograph printed open edition, printed and bound at the Binch Press / Queer.Archive.Work studio

2025

a materials research publication documenting my papermaking research from my time as an artist-in-residence on Prudence Island and at the Penland School of Craft in 2024-2025

the term assimilation comes up repeatedly. for a while my reflections were focused on assimilation as a process of self-erasure, on all the ways I have changed or been forced to change in order to feel safe or like I belong in my surroundings. but now I’m also considering how belonging rests on an ability to transform. I’m considering how being fluid and fractured can lead to a more expansive way of existing. I want to lean into ideas of identity as multiplicitous rather than singular: of being difficult to name: the self as a nebulous construction.

nebulous
original artist book printed as part of my BFA thesis project
risograph editions vol 1 & 2 printed at the Binch Press / Queer.Archive.Work studio

2021 / 2022 / 2024

a collaborative publication exploring identity construction, illegibility, assimilation, mimesis, & transformation, with contributions from Olivia Fredricks, Courtney Nelson, Ollie Bandong, Hayley Canal, Arik Miguel, & Eric Halvarson.

nebulous has been exhibited in numerous book fairs and shows, including the Ulises: Assembly exhibition at Tufts University Art Galleries in 2024