An alternate version of Finding Nemo’s end credits.
When the Oklahoma Land Run “closed” the western frontier in 1889, the doctrine of manifest destiny transformed from an ideology tied to physical space into the dominant mythology in mainstream American identity. Today we can understand the contemporary relationship between climate change and private space programs as an extension of this mythology of supernaturally mandated capitalist expansion. This narrative underpins the work, which utilizes tropes of the cinematic Western. Vortex is an interactive dystopian VR experience. It is a sculpture set on the technological frontier of gaming.
VR, plastic, wood, electronics 2019
Throughout history, diverse cultures have interpreted the cosmos through stories and images, developing an array of narratives framing people’s relationship to the unknown and to each other. Initiatives in outer space today are focused on discovery and colonization, as national and private space programs develop technologies to traverse astronomical distance, populate Mars, and work to map thousands of alien planets, focusing on the “habitable zones” of nearby solar systems. NASA’s new “planet hunter” is the Transiting Exoplanet Survey Satellite. TESS launched this past April on a SpaceX rocket set on a two year mission to survey the entire sky in search of other Earths.
Tess Elliot is surveying the local spacetime surrounding her: the cross timbers and great plains of Oklahoma. The historical narrative here is one of forced migration, frontier expansion, and resource extraction. If space is the “final frontier”, how does this narrative inform current and future pioneering in space? Can the visual language of outer space, focusing instead on the local, inspire an interest in the ecology of place and the health of our planet?
An anti-monument for the not-uncommon downfall of one pro-football Hall of Famer, Warren Sapp. The installation was built from a donation of discarded materials from high-end department store cosmetic displays.
LED lights, leather, video, acrylic, clay, paint, wood 2016
An immersive video game designed in Unity and built for the Oculus Rift. Set in a minimal stadium environment, sheets of digital material are instantiated in front of you, rush towards you, and collide over you triggering audio clips from televised pre-game hype as the material shatters and disperses.
VR video game still shots 2015
B&W Super 8 film shot on the grounds of the Olympiastadion Berlin.
Super 8 B&W reversal 2015
HOW SWEET IT IS
The last stop on the bus tour of Ohio State's campus-wide MFA second year show. A procession of art department faculty and students were each rewarded a chocolate national championship ring of their choosing from a diversity of flavors.
chocolate, laser-cut construction paper, cardboard, wrapping paper, poly-paper, pine 2015
A solo show at the Beacon Artists Union consisting of two sculptural pieces: A holographic replica of Ohio State's National Championship trophy and candy championship rings.
The Illusion of Winning hologram, laser, glass, faux brushed stainless steel laminate, plywood 2015
Two faux football trophies stand in opposition. One is the Super Bowl Lombardi as a vibrating sex toy symbolizing the gratification of winning. The footballs were patterned from 3D scans from an Ohio State defensive linebacker’s knees to speak to leg injuries prevalent in the game.
Lombardi II silicone rubber, glitter, vibrator, batteries, plywood, paint 2015
Football Knees football skin, lacing, rubber, batting 2015
Installed in the storefront window of People's Bicycle, a retail and repair shop in Beacon, NY, for the citywide art event Windows on Main Street X. A vintage Raleigh three speed was deconstructed and hung with over 400 strands of fishing line to create an exploded view.
bicycle, fishing line, plywood, toothpicks 2014
THE THING ITSELF
Solo show at Mad Dooley Gallery in Beacon, NY: Recycled banners were blended to a pulp and recast to celebrate recycled sentiments, a silicone football shaped knee, a super bowl trophy cast from beer cans, and other works.
Welcome Back cast recycled paper banner, plastic rivets 2013
Ive Never Been But I Know What Its Like cast recycled paper banner, plastic rivets 2013
Pine wood, faux wood panel 2014
Lombardi (For the Fan) 40 aluminum beer cans, black velvet, mirrored plexi, mahogany plywood 2014
Knee Surgery ($50,000) rubber, stitches, surgical tape, hair 2014
A two person show between lifelong friends Tess Elliot and Charlotte Hallberg. The title refers to an epic poem written and illustrated by the duo in second grade.
oak, faux wood panel, paint 2013
ash, faux wood panel, stain 2013
french walnut veneer, poplar, faux wood paneling 2013
Breakneck Cakes (Fall & Spring) were made in celebration of the 2011 & 2012 Beacon Open Studios weekends. A scale topography of the Hudson Highlands from Breakneck Ridge to Mount Beacon to Fishkill Ridge rendered in cake. The work is a playful gesture towards the consuming of landscape.
cocoa pound cake, chocolate buttercream, marshmallow fondant, hard candy 2012
pound cake, buttercream, marshmallow fondant, hard candy 2011
HUDSON RIVER SOUVENIRS
Cheap and reproducible Hudson River School style "paintings" depicting snapshots of the region's hiking trails digitally manipulated, printed on canvas and framed in vacu-formed plastic.
digital prints on canvas, PET plastic, steel rod, spray paint 2012
digital prints on canvas, mdf, PET plastic, spray paint 2011
Installed along the Rondout Creek trail in Kingston, NY for the 2011 Kingston Sculpture Biennial, the 3D images inside offered an "ideal" view of where each stood.
A second gallery version suction cups to a window to show a moment from the view outside.
A china cabinet full of broken porcelain plates depicting images of the environmentally and economically depraved city of Niagara, NY. The upper cabinet doors mimic the shape of the falls. The lower cabinet houses the research and production material. The work can disassemble as a traveling show. The plates were slip cast while in residence at CAC Troy and later produced through the Elizabeth Foundation for the Arts Project Space's Assembly Line artist workshop series.
Cooper Union senior show exhibiting the Artifacts of Mount Beacon. Objects of interest collected atop historic Mt Beacon were replicated and put on display in a dual curiosity cabinet / production unit. The originals were reburied at the site in a "treasure chest".
The Artifacts of Mount Beacon plaster, bronze, acrylic, red oak, plywood, velvet, aluminum, found objects, lightbulbs, glass, wire, dirt, colored pencil, burlap, clay 2008