Other Works
Other Works
These are an accumulation of glass, sculpture and photographic artworks. They may not belong to a specific category of my work, but that does not make them outcasts. These works are some of my strongest pieces, continuously inspiring my current work and connecting with other people’s memories and emotions. Many of these are my most personal works and sharing them exposes my vulnerability, but it also opens the floor for others to be vulnerable. Because of seeing these pieces, whether it was online or in person, several people over the years have opened up and shared a personal story that these pieces tell them. I am honored to know that my art moves people and that, despite hearing my story behind the piece, there is still plenty of room for these pieces to tell other stories as well.
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Backbone is the piece that inspired the study of casted vertebrae. Each casting is an investigation on the effects of heat and time on a frankly cast resistant glass. All of the vertebrae from these studies are used in the piece, representing the successes and failures we all carry on our backs. This spine is 2 meters long and growing larger as studies continue. It is completely movable and reconfigured for each exhibition.
This piece was awarded Honorable Mention in the Glass Art Society’s Student Exhibition ‘Evolution: A Showcase of Emerging, International Talent’. Due to the pandemic this was a virtual exhibition, the video below was presented in place of the piece itself. The exhibition is still online, if you would like to see my piece as well as the other talented artist’s work click here
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I created this piece for an exhibition about women dealing with sexual abuse, where all of the proceeds were donated to help women escape abusive homes. At the time, I was also volunteering in a safe house for women and children who had been living in abusive homes. The idea for this piece came from trying to see the perspective of the women being abused and how I could capture the way they could be feeling. I imagined that it was like being sewn to someone, the stitches would be painful and after they were in place, the woman couldn’t escape, at least not without a lot of pain. The stitches represent the trap and forced attachment, but the needle represents the abuse. You always see the partner and you always see the victim, but the abuse is often hidden like a glass needle, a lot of pain that no one sees.
This piece is often mistaken for self abuse because the hand being used looks like it belongs to the body it's attached to, rather than the hand of a partner. I actually find that story interesting as well because it's not that different. Although they are not exactly the same there is still an abuser and still someone being abused, even if it's the same person the pain and inability to escape is the same.
Materials: Flameworked Glass, Thread, Plaster
To learn more about the process of body casting click here
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This piece is about my Father having to repress his memories because of, in my opinion, bad choices and situations he has gotten himself into. Encased in the glass are paintings of unprinted negatives from my dads old film reels, they are being kept in bottles until he’s ready to remember the past life he once lived in.
Materials: Blown Glass, Reusche paints, Plaster
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This piece was made as a response to censorship in art. What if the censored image is more ‘vulgar’ or ‘sexual’ than what it is trying to censor? For this series of photographs, I cut and burned black and white negatives from a reel of self portraits. This act in itself can be viewed as ‘vulgar’ in a way. Many artists try at all costs to protect their negatives, but here I am intentionally destroying them.
Materials: 16x20in Silver gelatin prints
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If you take away your own skin, then how do people identify or recognize you? To create this work, I cut my body out of a film reel of self portraits and then printed the negatives on light sensitive paper.
Materials: 16x20in Silver Gelatin Prints
