Collectors @ Space 776 and Fortress of Solitude @ Super Dutchess

In September, Space 776 in Bushwick hosted my most recent solo outing, Collectors.

In terms of process, I’m most inspired by space. When I encounter a new space where I will be exhibiting my work, my mind is immediately flooded with visions. The possibilities of a space can become the basis for a whole new body of work. Space 776, with its unique architectural details and rich natural lighting, was an exciting canvas to work with.

The central idea that I was exploring in Collectors was how we take the chaotic mass of information that surrounds us every day and turn it into comprehensible information and ideas.

The first image that entered into my thoughts came together into a piece that ended up being what I considered to be a skeleton key to the show, Phase Realia via Memory Tiles. Phase Realia captured the most facets of this theme. In its structure, it included a sort of lens and an object evocative of an antenna —devices for receiving and transferring information. A small vitrine displayed the strange, half-formed output of these unorthodox data collectors.

Other pieces were conceived less as “instruments” in their own right and more as artifacts of an imagined conversion of raw data into discrete concepts. For these pieces, I borrowed visual devices from map projections and tessellations, both of which I was looking at both as formal languages as well as instrumental methods of imposing form upon otherwise amorphous bodies of information.

Most important for my own recent research as I move forward is what I have been referring to as “the authority of objects”. From a big-picture perspective, this can refer to the way permanent or long-lasting structures of great scale can predetermine our behavior — infrastructure, architecture, urban planning, and so on. On a more microcosmic level (which I believe may be more consequential), I was looking at how our objects become an externalization of our consciousness. How do the objects we surround ourselves with become a sort of hard drive for our psyches, not only a record of possession and ownership, but, perhaps more importantly, also extensions (or hindrances) of our agency? How much of possibility or potential is predetermined or foreclosed by the objecthood of the things that surround us?

1/2 of the two tables which comprise Primal Quadrant also made a reappearance in September at Super Dutchess gallery on the Lower East Side. Curated by Andrew Woolbright, the piece is shown alongside some excellent work by Kajahl, Joe Bochynski, Marco Tulio Venegas, and Roque Montez. It was nice to revisit this piece, which is now 5 years old. It was reassuring to know that I am as sure today as I was when I first made the piece about the ideas in this piece, and the way they are captured and expressed in the format. Like Phase Realia, it remains a sort of skeleton key, not only to the body of work that Primal Quadrant was a part of, but also a road map to the work which followed, and continues to follow it.

The Aurora Chamber @ Play/Ground

In October, I had the privilege of participating in a unique exhibition focused on installation art called Play/Ground. My installation was called “The Aurora Chamber”. It took place in a decommissioned high school, now called Mustang City, in a charming town in Western New York called Medina, just east of Buffalo. Here are some images:

One of the (many) highlights was my performance on opening night with Sophia Sobers who also did a live improvisational scoring of the installation before and after the performance. Here is an excerpt of her atmospheric sounds:

One of the goals of the Aurora Chamber was to work with light, reflection, translucency, and shadows. When it wasn’t cloudy (which it was, most of the time), a dazzling grid of rainbows could be seen coming through the windows where I had created an otherwise imperceptible installation. But the Aurora Chamber was not only designed to harness the sunlight, but also to be equally experiential at night when the shadows really came to life.

The centerpiece of the show, called The Martyr’s Tablet, was a sound and video installation that reimagined a piece called Tristia from my show In Raptures. You can view an excerpt here:

Play/Ground was presented by Resource:Art in partnership with Hallwalls and Rochester Contemporary Art Center. Anna Kaplan, Elisabeth Samuels, and Emily Tucker did an amazing job curating and producing the project.

Thanks to everyone involved, more to come soon!

BOS, Fertile Solitude, Satellite Art Show and Mass MoCA

I’ve spent the better part of 2016 shifting gears in both life and art. With two shows to close out 2016 and a residency at Mass MoCA, I have lots of exciting news to report! 

Last week, I inaugurated my long-awaited return to NYC by participating in Bushwick Open Studios. It was as great a homecoming as I could have asked for, with hundreds of friends and friendly strangers passing through over two days. Visitors previewed new work for two upcoming shows, Fertile Solitude and In Silhouette.

For both exhibitions, I’ll be showing pieces from a new body of work called Anarkhos, inspired by the ancient Greek term for “without a beginning”. Whereas Geometer considered ways of measuring experience, Anarkhos looks at the opposite: the immeasurable. 

The first show, Fertile Solitude is curated by the exceptional Elizabeth Devlin opens October 14 and takes place at one of my favorite venues in Boston, The Mills Gallery at Boston Center for the Arts. With a floorplan laid out like an intimate hedge maze, its goal is to offer an antidote for an age of a technologically "self-inflicted state of constant connectivity” by creating individual moments of curiosity and contemplation.

The second upcoming show is called In Silhouette. Curated by writer/curator/consultant/powerhouse Kristin Sancken, it will take place at Satellite Art Show in December during Miami Art Week. The show will feature site-specific installations engaging the silhouette, extending the tradition from its original graphic meaning to explore elements such as lighting ratios, spatial awareness, artistic conventions and viewer comprehension. 

Last of all, I’ll be continuing these projects and more at The Studios at Mass MoCA artist-in-residence program in January. I couldn’t be more thrilled to have been selected for this program.  

Fertile Solitude
Curated by Elizabeth Devlin
ARTISTS Piper Brett, Caleb Cole, Emily Eveleth, Dana Filibert, Cig Harvey, Kyle Hittmeier, Annette Lemieux, Megan and Murray McMillan, Noritaka Minami, Hao Ni, Steven Pestana, Shelley Reed, Erin M. Riley and Sarah Wentworth
Mills Gallery at Boston Center for the Arts
October 14–December 18, 2016
Opening Reception Friday, October 14, 6–8pm
539 Tremont St
Boston, MA 02116

In Silhouette
Curated by Kristin Sancken
ARTISTS Julia Colavita, Coke Wisdom O'Neal, Steven Pestana
Satellite Art Show, Room 16
December 1 – December 4, 2016
1510 Collins Ave
Miami Beach, FL 33139

The Epitome Theater @ BRINK v2, curated by John Pyper

Click above to view  The Epitome Theater

Click above to view The Epitome Theater






I'm honored to kick off 2016 with new work created for BRINK v2: Space and Intimacy, curated by John Pyper, at the Mills Gallery, Boston Center for the Arts. BRINK is a bi-annual exhibition series dedicated to introducing emerging artists based in the Northeast. This installment is dedicated to sculpture . . . or not, since each of the six artists included here easily transcend what is traditionally associated with the term. 

My contribution is called The Epitome Theater and is an extension of the themes from October 2015's GEOMETER exhibition at GRIN. Whereas the centerpiece of GEOMETER was a measurer, here the centerpiece is himself being measured (both are life-sized self-portraits). An epitome was an early type of portable atlas, but here refers to both the figure on the table and the ancient notion of microcosm. Inspired by Renaissance anatomical theaters, the recumbent figure rests on a classical dissection table atop stones evocative of an elemental ritual. Beneath, a pile of anthracite suggests that the setting may actually double as a pyre, an alchemical burning from nigredo to albedo to citrinitas. At the figure's feet, a small bronze arch suggests an enshrined culmination of the study of human proportion in the applied arts and their underlying code of geometrical forms. Also included in BRINK are the sister pieces Morning Star and Evening Star

Getting to know curator/writer/artist/all-around inspiring gentleman John Pyper while preparing for this show was a pleasure and a privilege, and I'm tremendously fortunate to share my work alongside the work of five other stellar artists, Johnny AdimandoSamantha FieldsCoe LapossyAJ Liberto and J.R. Uretsky. Additional information on BRINK and it's surrounding events can be found here. A roundtable discussion with the artists will take place on Saturday February 20th, 2016, 3:00-5:00 PM, in addition to performances throughout the run of the show.

You can read more about the exhibition in Cait McQuaid's review for the Boston Globe here. Thank you Cait for the thoughtful article! 

BRINK v2: Space and Intimacy
January 15, 2016-March 26, 2016
Opening Reception Friday January 22nd, 2016 6-8 PM
Mills Gallery at Boston Center for the Arts
539 Tremont St
Boston, MA 02116 

Installation views of Geometer

Click through the images below for a virtual tour of the GEOMETER exhibition. 

Please be patient while the images load. 

Announcing GEOMETER at GRIN, and a recap of 34

It’s been a busy few months developing the pieces that comprise GEOMETER, my second solo exhibition with GRIN in Providence. GEOMETER continues my explorations of the space between intuition and science.*  

GEOMETER runs from October 15, 2015 to November 14, 2015 with an opening reception Saturday October 17 from 6PM-9PM. GRIN, 60 Valley St, Providence, RI 02909. 

For more information, see the press release here

I was also recently included in 34, part of Elizabeth Lyons Devlin's extraordinary Isles Arts Initiative. Huge thanks, Liz! Read more about it in this article from the Boston Globe, written by Cait McQuaid . . . keep an eye out for her mention of my piece (and big thanks to you too, Cait!).  

March 2015: Past, Present and Future

I’ve just returned from Spring/Break Art Show, where my installation Opus Novum Sensorium, and frieze, Giordano Bruno at the Threshold of the Quaternion, were on view. The pieces were included as part of Corey Oberlander and Lindsey Stapleton’s three-person show, Annulus, alongside work by Leah Piepgras and Jodie Mim Goodnough (whose photographs can be seen in some of the below images). You can read more about Spring/Break on Hyperallergic (who very kindly picked my project as a standout). 

I am also honored to be a recipient of this year's Puffin Foundation Grant for Fine Arts. The funds will go towards supporting projects in my next solo exhibition, scheduled for October 2015 at Grin


TEEM at Grin November 20, 2014

Last year's flat-files show at Grin, titled SWELL, was truly impressive, so it's a privilege to be included this year's installment, titled TEEM

For TEEM, I will be contributing works from a new body of work titled GeometerI'm very excited to debut these pieces, which are the first paintings that I've made in many years. Developing themes from my previous body of work, Metaphysics, Geometer takes inspiration from the various systems of measurement, both arbitrary and naturally occurring, which define our world. 


November  20th January 10th

Opening Reception Saturday November 22nd, 12-9PM. 

GRIN 60 Valley Street, Unit 3 Providence, Rhode Island 02909

Artist's Talk @ SFAI 140 Nov. 20, 2014

On November 20, I'm participating as a speaker in Santa Fe Art Institute's quarterly public event, the 4th Edition SFAI 140.  SFAI 140 features 20 short talks by some of the area's most innovative thinkers and practitioners. The event begins @ 7PM and takes place at SFAI, 1600 St. Michaels Dr, Santa Fe NM 8705.  Please join us if you happen to be in Santa Fe. 


More information on the event: 

SFAI 140 is an evening of creativity and conversation featuring 20 short talks by some of the area’s most innovative thinkers and practitioners. It is a quarterly event in which artists, members of the community and leaders of cultural organizations discuss ideas and projects in lightning-fast presentations: 20 speakers each with seven slides at 20 seconds per slide (for a total of 140 seconds). The impetus behind SFAI 140 is to create a dynamic, engaged evening where SFAI’s gifted artists-in-residence talk about their work alongside dedicated members of the Santa Fe community.

We asked ourselves: instead of having lengthy, monographic talks by one or two individuals, could we offer just a taste—an amuse bouche—to inspire and create a spark for further, more in-depth conversations? The point is, you’re never going to understand the total depth of someone’s practice. What SFAI 140 gives the audience is a taste.

While the format for SFAI 140 may seem quick, one hundred and forty seconds can actually be a really long time, a profound amount of time in fact. In 140 seconds one can create a tremendous impact and drive change. The Arab Spring came about as a result of people expressing their passions and frustrations in 140 characters, President Lincoln spoke his 272-word Gettysburg Address in a little under 140 seconds. As SFAI 140 reveals, time doesn’t limit seminal ideas and their impact.

The Botanica at Carroll & Sons (Boston) and Invisible Exports (New York)

I've been hard at work at the wonderful Santa Fe Art Institute preparing for two shows: The Botanica, taking place at two galleries (Carroll & Sons in Boston and Invisible Exports in New York City, with the first of the two opening next week in Boston), and GRIN's annual flat files exhibition, titled TEEM, opening November 20 (more info and images here).

The Botanica is a group show curated by Michael Bühler-Rose and AA Bronson. Referring to the tradition of Hispanic Botanicas, religious and magical supply shops in the Americas, the exhibition will present works that play with the ideas of artist as shaman/priest, the art object as a venerated deity, and the creation of the artwork as mystic ritual consecration.The works included will be multiples created in unlimited editions, in many cases, specifically made for The Botanica.

For this show, I will be offering a sigil-making service as well as my artist's book, Codex Novum Sensorium. Scroll down for additional exhibition information.  

Exhibition Information

At Carroll & Sons, The Botanica runs from November 5 – December 28 with a Reception on November 7. 

Carroll & Sons, 450 Harrison Ave, Boston, MA 02118

At Invisible Exports, The Botanica runs from November 30  December 21 with an Opening Reception on November 30.

Invisible Exports, 89 Eldridge St, New York, NY 10002

P.S. I was thrilled to learn that an image from Prolegomenon (2013) is included in the current issue of Art New England (Sept. - Oct. 2014). Thank you, editors!

Exciting News for Summer 2014

I’ve just completed my MFA at RISD and am happy to make some very exciting announcements.  

Gallery Representation

First off, I’m thrilled to announce that Grin, who hosted my solo debut Prolegomenon last September, has brought me on board as a represented artist. Follow Grin on Artsy here

Upcoming Residencies

I’m also honored to have been selected for two artist-in-residence programs before the year’s end. This July, I’ll be attending a month-long residency at Vermont Studio Center. Then, beginning in September, I’m participating in a three-month residency at 
Santa Fe Art Institute
Currently On View

I’m very fortunate to have two pieces selected for the “New Contemporaries” show at Gelman Gallery in Providence. Curated by Mark Moscone, the exhibition features a small, curated selection of standout work from RISD’s undergraduate and graduating class of 2014. The show can be seen in its entirety here and will be running through October. Installation views of my work can be seen below. 

Recent Publications

Finally, next time you visit Printed Matter, keep an eye out for my artist’s book, “Codex Novum Sensorium”, which they picked up for their distribution program. It should be available before the end of the Summer. 

I also wanted to thank both the Flux Boston and Temporary Land Bridge blogs for featuring my work last month. They both do a great job and it was a privilege to be included. 

Two Exhibitions, Up Now: Graduate Thesis Exhibition and Curated Graduate Selections

My graduate thesis project, supervised by Matthew Day Jackson and Daniel Harkett, is currently on view in RISD's Graduate Thesis Exhibition. The installation includes two separate but related pieces, "Giordano Bruno at the Threshold of the Quaternion" and "Opus Novum Sensorium IV: Primal Quadrant".

I'm also thrilled to have been chosen for the Graduate Selections exhibit, curated by Mark Moscone, Director of RISD Campus Exhibitions. Opens May 30.