Born and raised in Cleveland, Ohio. Moved to Columbus, Ohio to pursue art at Columbus College of Art and Design. Graduated 2015. 

Interested in the meshing of 2D and 3D work and how the viewer interacts with those spaces and objects.

My most recent body of work "LACK_ing: Objects and Interiors 2015" is a series of large-scale abstract works that investigates the concept of “Sharp Design” and it’s formal organization. These works question the notion of mass-produced and manufactured objects along with the spaces with which they occupy. LACK_ing: Objects and Interiors 2015 re-defines how the viewer, who is also a consumer, may interact daily with non-traditional objects that is questioning traditional design ideas, aesthetics, and materials.

As consumers we fill our personal spaces with objects of commodity, fine design, advertising, big industry and the Screen of pop culture. These objects, most non-functional, serve no real purpose in our lives other than visual gratification.

The shelves that I use are a good example of this, being something functional. But on the box it says they are not intended to be used to hold more than 5 pounds. Any amount of books or practical storage is out of the question. This is something I would like to work on more with the shelf and interior pieces. Finding materials and found objects that have an implied function but are not actually able to be used for that function.

Utilizing Ikea’s design, color and pattern from objects such as shelving, rugs, retail space, advertising, textiles, home storage, and lighting to reinterpret these sources. The sculptures are then manipulated and abstracted both digitally and physically, ultimately using the hand to create the objects and tone of these megastore spaces. Direct and confrontational use of color and form activate the space within and around the work.  The invented space is bright, playful loud and attractive creating a body to form a relationship between the maker and viewer. The sense of the hand is present in small crude glitches around each piece interrupting a clean space. The work sits within a certain lineage that includes Isa Genzken’s architectural accumulations of pop-cultural ready-mades or Rachel Harrison’s combination of objects, images and handcrafted forms. The sculpture ultimately combines the trajectory of readymade to sculptural assemblage with the flattened-out world of the digital age. The more 2d works pull from more of the digital and internet realm, taking and manipulating images to be able to work them of physically.

For example Interior 1 deals with an assembled space centered on a floating shelf. Pulling from clean and flawless graphic imagery and shaping from interior design magazines and Ikea catalogues and color from advertising and media. There is a satisfaction in using mass-produced and manufactured objects and imagery and turning those into surreal and lively spaces.  The process of manipulation and play allows the work to redefine traditional ideas of design and manufacturing. The clean flat graphic shaping on the wall draws more attention to the hand crafted objects in the work that have their imperfections which are drawn out even more in comparison. The attention to the hand being in the work is there to help the viewers relate to the work and see their own hand in the work.