The installation, Flock, was a collaboration between University of Tennessee Knoxville Graduate Students, Keely Snook and Katherine Farley, for the 2014 CAA Conference in Chicago, IL.  The piece had two components, an animation projected onto fabric and a suspended paper installation.

The projection was a flock of abstract shapes, which imitate the behavior of birds. A microphone positioned inside the gallery controlled the size of the flock. As the sound in the gallery intensified the number of shapes multiplied. Likewise, as the volume dropped, the number shrunk.

The animation was projected onto a wall of white cotton fabric, hung in front of the window. The fabric had a black relief print on the front, passively disrupting the moving image. The flocking shapes symbolize the interaction happening within the space and the temporary community that forms. The stagnant print represents the expected interaction as a whole, a standardized pattern of grouping and dispersal.

This Photobooth was presented in Times Square as part of the 2018 Chashama Gala. Founded in 1995 by Anita Durst, Chashama supports artists by partnering with property owners to transform unused real estate into spaces for artists to create, present, and connect.

Designer/Fabricator: Loren Nosan

Fabricator: Keely Snook

This series was an investigation of societal pressure through mass media advertising, aimed at exploring how women process and internalize social norms. Women’s magazine ads were appropriated and distorted to examine the tyranny of images and reveal the inherent contradictions in commercialized imagery. Rupture was a two person show with fellow printmaker BJ Alumbaugh.

This series dealt with behaviors involving a physical interaction between the subject and their body. A habit can impact our sense of personal identity not only by scaring or marking the body, but also psychologically by its effect on how we are viewed by peers and ultimately our self-perception. The habits were chosen because the subject not only identified with the idiosyncrasy but also expressed it as odd or strange, sometimes even embarrassing. The work creates an opportunity for communication between subject and viewer, capturing a display that is often hidden or short-lived. The price paid by this voyeurism is the uncomfortable sense of the subject’s vulnerability and anxiety, the feeling that they know they are being watched. Through the process of woodcut the repetitive marking of the body is mimicked, as well as scaring, through the preservation of grain pattern and original gouges found in the wood.

In August 2020, I taught a remote printmaking course through the Manhattan Graphics Center, The "I Spy" Print: Collagraph in Quarantine.

We experience patterns in life every day, both man-made and naturally occurring. They affect the way we see and experience the spaces we are in, the objects we confront, and reveal the relationship between vision and perception. As an introduction, students were asked to make a collage with rubbings of textures and materials found around their house. This led into a discussion of relief printing and how to select materials for their plates. They were then introduced to the history of collagraph and shown work from a variety of artists that utilize collagraph in their work. Finally, students were guided through the process of making a collagraph plate and hand printing.