My interdisciplinary studio practice has consisted of video, sculpture, photography, artist books, and, most recently, painted collages inspired by Japanese woodblock prints. The tight and controlled collage process helps inform the language of each picture. By recontextualizing quotidian objects with fetishistic play, I reconfigure fruit, plants, curtains, and shrimp cocktails, replacing their original functions with those of physical pleasure and perversity. Caught in private moments of leisure and play, anonymous subjects are posed in scenarios whose theatricality

Much of my work is grounded in my religious upbringing and a previous generation’s experience with a kind of mystical spiritualism. It is common to find passages within Mormon religious texts of wilderness as holy, mountains as sacred grounds, or the desert as a spiritual refuge. Allegories and parables of seeds, plants, and the growers that raise them are frequent tools for teaching doctrinal concepts. I revisit some of these passages through art, and work to reinterpret them from a contemporary context. In moving from Utah to New York and

Inspired by the sky in transition from day to night, I paint color gradients to capture the ephemeral beauty of moments of change. Architectural and sculptural elements create an invitation into the painting and serve as a symbol of transformation and awakening. Energetically colored skies and minimal landscapes draw the viewer through and beyond the painting to consider what lies ahead.

This body of work is inspired by making daily drawings that record my everyday emotions, intuitions, and sentiments. Sometimes they are abstract, preventing the viewer from reading them according to the semiology of the visual system that our eyes are educated with, and sometimes they are recognizable enough to link the viewer’s eyes to familiar forms such as objects, body organs, and figures.

Through painting, fibers, installation, video, and soft sculpture, I challenge historical norms in figurative painting that are based on a female muse and male genius artist, presenting my vocal female voice as a counter. Mining my experience of navigating the fluidity of identity throughout a long-term partnership with my husband that began when we were fifteen, I flip traditional gender roles in portraiture.

His devotion is to the motion (and not so much the potion), that’s what keeps him goin’. It’s not about the smoke or the toke, but the tussle of the muscle. The fingers linger from north to south, table to mouth, puff and poof, breath in, then out.

I grew up in rural Pennsylvania in a town of no more than a few thousand residents. Deeply conservative, most placed religion above all else, and anyone deviating from religious doctrine was treated as a herald of immorality. I was a man whose love for men violated the cultural norms, forcing me to conceal my life from others, causing feelings of guilt and alienation.

My work lies in the same bedroom as the psychedelic and camp aesthetic that promotes confusion while postulating equality. Along with it lie drug folklore, love, occult conspiracies, and cultural phenomena. It is as if the work were Fox Mulder from the popular FOX network show The X-Files as an angst-ridden teenager sitting in a bedroom filled with bong smoke, Christmas lights, psychedelic posters, and succulent plants, with odd ceramic sculptures littering the windowsill, who is trying to impress his partner, Dana Scully, by playing Pink Floyd’s Dark

Animal and natural symbology has been present in cultural history since we learned to depict; its meaning and significance ebbs and flows. In 20,000 B.C.E., situated among the Drakensberg Mountains of present-day South Africa, a group of huntergatherers named the San painted symbolic representations of men transforming into snakes. These images were painted as the San were being driven out of their ancestral land by political forces and unified adversaries. Last February, Donald Trump co-opted a mid-century folk song—“The Snake”—to illustrate the

Bodies occupy tightly framed, intimate spaces. Groups, couples, and solitary figures examine self-presentation in both intimate and public life. Figures are composites based on my own and others’ experiences. The figures possess a dreamlike quality; however, the world in which they reside feels more concrete and conflicted than a dream. It is a state of heightened reality, saturated by the surreal, frenetic, groovy, sexy, and sorrowful. The figures are never nude: they are decidedly, specifically dressed. The withholding of the familiar and often anticlimactic