Mixed Media

Crime Scenes is a series depicting the aftermath of home invasions—disrupted interiors viewed from above, like forensic photographs. These flattened spaces echo the chaos of real events: overturned furniture, shattered objects, traces of violence. The work explores how terror penetrates homes or the home. As with other forms of violence, home invasions are disorienting and unpredictable, fracturing our sense of safety and turning private sanctuaries into sites of trauma. These crime scene titles reference fictional addresses in wealthy neighborhoods.

Hanging Women Out to Dry is a series of abstract collages confronting the vulnerability and erasure of women who have survived sexual assault. Made from deconstructed flower photographs I took early in my practice, the works evoke fragmented, suspended bodies—broken, exposed, and disconnected from their cores. These images speak to the violence not only of the act itself, but of a justice system that abandons survivors, leaving them isolated in the aftermath, suspended in a space of pain and silence. These titles reference past sexual assault cases in which the plaintiff lost.

“Color Etudes” is a series of artworks that capture the dynamic energy and emotional intensity of bold hues, inviting the viewers to experience the raw and unapologetic force of color. Each piece uses vivid and contrasting palettes to create the impact that color alone can convey. Some of these artworks aim to illustrate a top-down view of urban landscapes in their moment of pre-destruction by bombs, highlighting the contrast between beauty and destruction.

I captured these photographs as a way to examine the stillness and vulnerability of New York during the pandemic. In an emptied Times Square or among unhoused individuals in parks and on sidewalks, these works document eerie beauty, disorientation, and quiet resilience. Stripped of their usual rhythms, the city’s spaces reveal the human capacity to endure. Whether isolated in a crowd or alone in a field, these figures embody both surrender and survival in altered urban landscapes. The titles reference the closest street addresses to where the photographs were taken in Central Park and Midtown Manhattan.

New York intersections are stages of constant motion, where lives briefly converge before parting again. In these collages, I isolate figures that catch my eye, imagining connections—or disconnections—between them. The surrounding cityscape is restructured to heighten their presence, creating a charged moment of encounter. As in photography, I aim to capture something fleeting yet resonant. Hand-cut and digitally assembled, the works shift between realism and abstraction, echoing the rhythm and disorientation of city life.