INSTALLATION

 
 

POWER (2018)

Installed at MassArt in Boston, MA on May 3rd, 2018, this interactive installation emerged from connections drawn between the formal elements developing in my installation practice and the history I have been studying about the colonization and globalization of Latin America. I drew many parallels between the elements of darkness and control, and felt that this installation was an expression of the psychology behind many U.S. citizens who choose to deny the historical context of Latin America and other colonized lands. It uses form to address the intentionality behind American ignorance to imperialism and colonization.

PLAY SERIES (2017-2018)

The Play series began as an experiment with artist and filmmaker Darren Cole with MIDI triggered video clips. Since its first iteration as "Play Me" at the 2017 Studio for Interrelated Media All-School Show at Massachusetts College of Art & Design, it has grown into a more conceptual and immersive work existing in multiple types of spaces.

 

OBLIVION (2017)

This 2-channel video installation was an exploration in the concepts of consciousness and existentialism. The fabric is 5 x 11 feet tall, intended to be slightly larger than a life-size person.

 

ROXBURY CROSSING (2017)

An intensive study on gentrification and surveillance in the college-occupied neighborhood of Mission Hill in Boston, Massachusetts, this installation was shown in the gallery exhibition Obsessed at Massachusetts College of Art & Design in the spring of 2017. Blurring the lines between performance, documentation, journalism and surveillance, the lifespan of this project from ideation to creation and sculptural execution has taken on intricate political interpretations beyond its original intention.

 

THE SPECTACLE (2017)

A short film trailer inviting viewers to visit the circus, The Spectacle is based on a larger concept of a theatrical circus. Exploring themes of surveillance, propaganda, and control, this film is the invitation to a theatrical, immersive experience in which the affectation of nostalgia as a tool for ideology and control of masses is explored and exploited. Analog mediums play an important role in emphasizing propaganda nostalgia, but in the theatrical experience, modern technology will also play a part in blurring the lines between modern and vintage, to question the differences between media and consumption in earlier times as compared to modern times.

Collaborators: Michael Flowers (costume, makeup, ideation), Viola Alumnir (storyboard, writer, set design), Emma Lynne-Gould (actress), Nathalie Currier (actress)