Wa Na Wari: Walk the Block, Central District, Seattle, WA (2022)
Painted wood window sashes
One Way Mirror (2022), is an installation exploring the built environment, through the material properties of windows and mirrors, contextualized by the changing cultural landscape of the Central District neighborhood.
Composed of windows sourced from old homes, a byproduct of the urban renewal process, the installation repurposes these deconstructed elements taken from the home. Additionally, the glass has been treated with a traditional technique used to make mirrors.
Windows provide insight to the outside environment while mirrors are a conduit with which one can see themselves in their home. As time passes, the mirrors no longer reflect its environment. The reflective quality of the silvered mirror begins to fade and becomes opaque. Over time the structure reflects a smaller portion of the environment and the people who were once residents.
Hilltop Lasting Legacy, Hilltop, Tacoma, WA (2021)
Pigment dyed concrete
36” x 24”
Buildings serve as an anchor within memories of people to specific moments in their history, but what happens when these tangible references no longer exist? Foundation (2021) serves as a reminder of the history of Hilltop. Many institutional buildings, depict famous moments in history or places on the facade or entrance into the space. Similarly, Foundation attempts the same. The Hilltop Lasting Legacy Project sought to create permanent installations that connect directly to the neighborhood during a time where the ongoing construction has displaced many of the current residents. A site-specific project made for the residents of Hilltop, a predominately Black neighborhood in Tacoma, Washington, memorializing buildings tied to the people and history of the neighborhood.
(2019)
Richard H. Driehaus Museum, Chicago, IL
Size: Pillar 1 - 12.25" x 14.5" x 81"H , Pillar 2 - 13.75" x 16.25" 78.5"H
Material: White Oak
Gateway is presented as a deconstruction of the passageways used by the domestic servants of the mansions of the Gilded Age. The two sculptures act as a threshold. Designed to be hidden in the background, Gateway, brings them to the foreground.
Design Show, Chicago, IL (2018)
Materials: Clay bricks & soap
Dimensions: 18” x 60” x 18”
Much of the urban layout of 20th century America has been shaped by discriminatory social engineering. The remnants of which are instilled in the housing institution today. Black Space presents a rectangular volume constructed of series of site specifically sourced bricks. The physical properties of the clay bricks have been altered where previously there was durability and stability, now that longevity has been severely shortened. The lifespan of the volume provides a brief moment of structure as it continues to break down.
Salone Del Mobile, Milan (2018)
Materials: Cast Glass, Aluminum, LEDs
Dimensions: 19” x 8” x 19”
What is ‘natural’ about contemporary existence? The rise of genetic engineering, genetically modified organisms, and genetically modified foods have destabilized and blurred boundaries between the artificial and the natural. Supernatural explores the naturally occurring phenomena of bioluminescence in the kingdom Fungi through artificial light and industrial production. Made of cast glass, Supernatural is a wall light that questions long standing distinctions between the natural, the artificial, and the sublime.
School of the Art Institute of Chicago, Chicago, IL (2017)
Materials: Wood, Porcelain, and Glass
Dimensions: Total 48” x 12” x 2”: bowl 6” x 8.5” x 2”: plate/serving bowl 12” x 6” x 2”: small bowl 6” x 6” x 2”: small bowl 4.75” x 10” x 2”
The Barangay serving dishes were created as a response to the lack of table space created by traditional plate ware forms that quickly fill up the entirety of the table. The form is drawn from abstracted forms in textiles and various weaving patterns. This system blends together seamlessly leaving very few gaps and maximizing the available space on the table. At the start of the meal the dishes form a cohesive pattern of various materials and as the meal progresses the dishes separate to accommadate the needs of the guests. Made up of irregular forms, varying in shape and material, these shapes would come together to create a cohesive form.
Seattle Design Festival, Seattle, WA (2014)
Dimensions: 155 ft2
Wover, (the woven rocker) is a dynamic rocking structure that invites strangers of all ages to relax and play. The project was a collaborative design / build for the 2014 Seattle Design Festival: Design in Motion, a weekend-long event in Occidental Park. The design was based on two guiding principles: juxtaposing architectural tectonics with textile production methods and the theme, ‘Design in Motion.’
The design team consisted of architects and designers, partnering with a local clothing designer and manufacturer. Combining textiles with nontraditional architectural design was the primary goal of the design process. Inventing a design that merged the two worlds of textile fabrication and architecture into a single concept challenged the traditional notions of both clothing design and architecture. The end result is the consequence of both disciplines learning new ways to think about design and fabrication.
