statements

designer

I prioritize human-centered design & design thinking, which grounds my creative process in empathy and active listening to build collaboration. I excel at helping flourishing teams toward shared goals while continuously respecting pluralistic perspectives. My expertise in experimental mixed media and experiential design is driven by a commitment to understanding clients’ needs, forming an undercurrent of meaningful solutions that resonate deeply with whatever one is trying to say while allowing improvisation in the correspondence. Whatever leadership role or team setting I am in, I ensure that every project reflects thoughtful engagement and transformative practices.

Graphic design is a philosophy of visual communication that I bring to all my endeavors.

artist

In my artistic exploration, I navigate the inherent ambiguities and contradictions that shape human existence. I embrace the coexistence of form and anti-form. I appreciate finding meaning in what is present and absent, in the interplay of tangibility and intangibility, and in the delicate dance between performative and non-performative actions. Art & design become my mediums to mediate experiences, sending messages in bottles that connect with viewers through the ephemeral nature of life and the tangible presence of abstract art in space. 

Utilizing various materials, from projection-mapped digital animations to tufted sculptures, my work is influenced by the rich tapestry of theoretical, design, and artistic inspirations. Drawing from diverse sources such as post-structuralist philosophy, I find resonance in dematerializing the limitations of language. The ephemeral and tangible dance within my creations, revealing rainbows and elusive bridges that connect seemingly distant worlds, echoes the sentiments of influential figures who navigate the realms of the abstract & uncertain. 

One such example of my work, a projection-mapped mixed media installation titled “Another Tower of Babel??,” exemplifies the essence of my artist statement. This piece draws inspiration from the biblical story of the Tower of Babel, transcending traditional boundaries of communication. What does it mean to play in the space of misinterpretation? Do we need to feel discouraged or confined? Can it become a space for one’s agency as well as a shared meaning within a community? Through temporal and procedural frameworks plus a diverse array of components, it invites viewers to explore the complexities of encountering nonrepresentational signs and symbols in a contemplative, nonlinear space. 

As I move forward, my artistic journey continues to unfold, weaving threads of ambiguity and nuance. Current and upcoming projects further investigate the intricate relationship between perception, language, and art. The horizon holds the promise of immersive research into community, language, and culture, reflecting my commitment to exploring the unknown through lived experience to expand meaning.

artist-curator

I often return to a simple question: What is the curatorial hand? Is a curator merely someone who places work on walls, or instructs others where to place it? Or is curating something more—something closer to convening, composing, attuning? For me, curating and co-curating operate as extensions of my studio research: opportunities for artists to gather, think, and build correspondences together. It is not a practice of arrangement for arrangement’s sake, but a practice of relation, a kind of jazz—improvised, responsive, and deeply aware of the spaces between things.

I approach the role of artist-curator as a form of space-making and place-making. To curate is to create conditions for communication—conditions in which artworks can meet one another, resonate, misbehave, and speak. Co-curation becomes a process of idea-sharing, of designing environments that allow artists to exist in conversation, rather than isolated solitude. When I say I am an artist-curator, I mean that I create work that seeks dialogue, that desires proximity, that benefits from being installed among other makers’ inquiries. My curatorial work is not “separate” from my artistic work; it is the continuation of it in another modality. It is an experiential experiment in correspondence.

Some question the integrity of including one’s own work within one’s curatorial projects. I find that critique revealing. Historically, artists have always shaped the contexts in which their work is seen. Post-structuralist thinking reminds us that authorship, framing, and interpretation are never neutral positions nor fully in one’s grasp; meaning is co-produced in the encounter between artwork, viewer, and environment. If the artistic hand constructs the conditions to initiate meaning, why should an artist not also tend to the spatial, temporal, and conceptual architectures their work inhabits?

To exclude the artist from the curatorial process in the name of “objectivity” is to misunderstand the nature of both making and meaning. My presence inside the installation is not an act of self-priority, but an act of embedded research—an opportunity to shape a collectively shared environment with care, rigor, and responsiveness. It is another form of communication, another method of designing experience.

Perhaps this is naïve. Or perhaps it is precisely the expanded, practice-led curating that contemporary new media work demands: porous, collaborative, relational, and alive to the shifting structures of interpretation. My curatorial hand is simply the continuation of my artistic hand—another tool for building the correspondences that make art, and its audiences, possible.

teaching philosophy