Fort Tilden

The 1948 Supreme Court case US v. Causby, states that the landowner “owns at least as much of the space above the ground as he (sic) can occupy or use, in connection with the land.” The video essay Fort Tilden considers this ownership of soil as extending into air and water, challenging this narrative by flying a kite on a private track of land.


 

Fort Tilden
Video essay, 3:49

15 OPEN
Parachute-style kite sewn from 15 open flags
5’ x 18’ x 1’6’’
2020



To Hold Water

Challenging notions of private property and surveillance, the exhibition To Hold Water uses the convention of the “God’s eye view" to investigate the implications of the human impulse to survey, organize, and control that which is uncomfortably unknown. The works meditate gaps left from the traditional top-down perspective, creating a portrait of precarity inherent in understanding oneself and one’s world from above.

Materials: Water traveling on rope, a pump, two monitors and a projector







Featured Video: Self Portrait

Video, 4:05
2020


This two-channel video is a meditation on the camera as a technology for extending sight. Using simple mechanisms to send the camera above and below Lower Manhattan, the work images the desire to reach outside of self and surroundings, to see beyond a singular personal perspective. 



Work for Texas

A series of site-responsive installations and interventions that challenge Texas’ culture and policy around the issue of land ownership and resource use. Expanding from this local context, the works define and investigate the human impulse to claim ownership.


OPEN
Performance still, Video, 11:49

2018
Flag erected in fenced-in abandoned lot

video clip
street view

Fence
8x8 foot chainlink fence, earth, hardware cloth
3 ’ x 1’6’’ x 4’
2018
Fence gate from the site of the OPEN video, cut into pieces and reformed

Flag
Inkjet print
40’’ x 60’’
2018 Photographic document of installation in a recently discovered cave at Government State Park. Printed to match actual scale of the space.

Cave Part A
Drop ceiling tiles, steel, 2x4s, drywall, molding, vent, electric heater
8’ x 8’ x 2’
2018

In the center of the work there is a hole that leads to a contained compartment. The space inside is warm, heat radiating from the interior. The sensory experience of interacting with the sculpture reflects the vulnerability of engaging with a cave space. The work asks the viewer to trust the structure, contorting their body in order to experience visceral sensation.

Cave Part B
Interactive Cave Model
Video, 2:13

2018
A digital experience of the cave model is paired with the drop-ceiling installation described above. One is a direct visual model of the cave while the other simulates the physical experience of being in a cave. The viewer experiences these two re-creations separately, segmenting a full understanding of the space. Together the works speak to the challenge of fully conveying the visceral experience of interacting with a wild space.






Common Ground


Used wood, marine foam, anchors
8’ x 8’ x 4’10’’
2019


Bodies of water are typically deemed outside of ownership. As public spaces they serve as rare surviving examples of a commons, a space that is self governed by the surrounding public. In the winter these northern Maine lakes become populated by small make-shift shacks, temporary structures for gathering and fishing. The architectural sculpture "Common Ground" translates the intimacy of these winter huts, allowing us to be at once outside and inside, isolated and together.