Probing the interfaces of interaction with viewers, these projects are driven by a constructive methodology of reassembling that which has already been disassembled, creating anew unique masses of aesthetic matter that intrigue and evoke. 



SUBLUNARY BLISS (2019)

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refrain from suspense (2019)

A site-specific installation in cardboard sourced from Peckham and New Cross in South East London.

3.75 x 3.15 x 3 m, installed at Assembly Point, Peckham, London, 28–30 June 2019.

3.75 x 3.15 x 3 m, installed at Assembly Point, Peckham, London, 28–30 June 2019.

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Post-Structuralist Marketplace [Deptford High Street] (2019)

A site-specific installation in cardboard sourced from the market of Deptford High Street in South East London.

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4 x 1.82 x 2 m, installed at Enclave Lab, Enclave Projects, Deptford, London, 15-17 March 2019. 

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Pressure of the Return (2016; 2018)

Appealing to organic architecture, sourcing cardboard from the streets of West Philadelphia (2016), later reconfigured and installed in New York (2018).

Cardboard and wood, 2016. Installation view at Charles Addams Fine Arts Gallery, University of Pennsylvania, Philadelphia, PA.

Cardboard and wood, 2016. Installation view at Charles Addams Fine Arts Gallery, University of Pennsylvania, Philadelphia, PA.


Against the grain (2015)

Cardboard, twine, and wood, 2015. Installation view at Charles Addams Fine Arts Hall, University of Pennsylvania, Philadelphia, PA.

Cardboard, twine, and wood, 2015. Installation view at Charles Addams Fine Arts Hall, University of Pennsylvania, Philadelphia, PA.


 

the Resuscitation (2016)

Paper, plastic, and wire, 2016.

Paper, plastic, and wire, 2016.

As a precursor to the demolition of an early 20th-century West Philadelphian house on March 10, 2016, The Resuscitation was a temporary installation suspended from the first floor ceiling within this ramshackle home, with vibrancy and mourning. 


A Waltz with time [This Mortal Coil] (2015)

A Waltz with Time (This Mortal Coil) reconsiders the two dimensions of drawing. Overlapping graphite on translucent vellum using stitched wire, its wire contorts the drawing line, pulling it, organically, into three dimensions. This assemblage/drawing is a pictorial calibration of a sliced tree's rings, alluding both to regenerative growth and the associations of memory. 

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Graphite on vellum, copper, and steel wire, 2015, 8 x 7 feet. Public installation at Saxbys Gallery, University of Pennsylvania, Philadelphia, PA.


parua duorum corpora natorum serpens amplexus uterque implicat (2015)

Layered among bulbous, organic, and piercing bursts, canvases are stacked from floor to the ceiling as the medium is stretched and reassembled. 

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parua duorum corpora natorum serpens amplexus uterque implicat [each snake grasped and enfolded the small bodies of the two sons], Wood, canvas, paper, paint, plastic, insulation foam, glue, 2015. Installation view at Charles Addams Fine Arts Gallery, University of Pennsylvania, Philadelphia, PA. 

 


decay [series] (2015)

A dance of detritus
                         in poetic play of the possibilities
          of arrangement, 
                   given constraints
of time.

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DECAY: A Choreographed Mushroom Series. Scanned mushrooms, photographic prints, 50 x 70 " each, 2015. Installation view at the Philomathean Society Gallery, University of Pennsylvania, Philadelphia, PA.


activating the archive (2016)

Activating the Archive was an interactive exhibition that encouraged the public to use large quantities of archival marketing materials on contemporary artists from the Institute of Contemporary Art Philadelphia to cut up, reconstruct, and stitch together a new collaborative work of art and literature. Using layered collage techniques, participants proceeded to critique, graffiti, and deconstruct.

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Three 5' x 4' panels and one 3' x 2' panel, mixed media collage, 2016. Activated April 18–August 26, 2016 at the Brodsky Gallery of the Kelly Writers House, University of Pennsylvania, Philadelphia, PA.