Laboratory for Other Worlds is an immersive installation centered around a stop motion animation set. It uses an off-grid solar panel system alongside handmade and recycled materials to forge connections between green technology, science fiction, and the ecological imaginary.

The environmental humanities, has as its goal to create thriving on earth for all beings. It is an interdisciplinary movement that bridges science, philosophy, and art that seeks to change the cultural and intellectual framework inherited from the enlightenment. It is a move away from focus on the individual human, and indeed, away from the human, and towards a more equitable relationship between us and the more-than-human world. It is essentially feminist and anti-racist and acknowledges we are one entangled body here on planet earth. This thinking owes an enormous debt to indigenous science and culture, and it seeks a creative, loving path out of the thorniest problems of the climate and ecological crisis.

These devices are designed to heighten human sensitivity to plant sentience. Based on close observation of plant-body movement and plant-to-plant interaction in both indoor and outdoor plant populations, the artist has developed a series of devices designed to engage the viewer in imagination exercises based on the following questions: - What if we could communicate with plants? - Is vision the best way to communicate, or should we be actively utilizing our other senses? - What does a plant-caring ethic (creating care for the sake of care, not to extract value) look like? - Do plants have a preferred aesthetic, and how are plants affected by our communication methods and ethics? Many of us have deep relationships with the plants we live with, and humans and plants communicate all the time; for instance, we talk to plants, we look at the expression of their bodies to see if they need water or nutrients. This work creates plant-caring devices by utilizing humble materials and intuitive, nonscientific processes intended to ignite the human imagination in considering ethical interactions with the more-than-human world.

These sculptures, paintings, and drawings are part of a long-term project that began in 2019 to address urban biodiversity by envisioning fictitious public monuments to human and non-human interconnectedness. The objective of this project is to create a series of paintings and sculptures imagining memorials that decenter the human and engage in a radical reimagining of collective memory. This project is sited at All Faiths Cemetery in Queens, New York.

Anywhere can be the center of the world.

- Black Elk

This psychic, corporeal cemetery map was made to visualize the idea of “body territory:” that communal burial sites can be thought of as an extension of the human body. This map is of All Faith’s Cemetery in Queens, NY, rendered as psychic geography, seeing each place on earth as both completely unique, and equally important - along with its individual configurations of plants, animals, and spirits.

This map is based on mythological images of the European world mountain. The mountain is shown as hovering in the air, made from an enormous pile of waste material emanating from the centralized, rational individual who sits in the center of geometrical garden paths. Just as this individual’s defecation is creating the world mountain, his breath is creating a cloud of industrial pollution topped by the mushroom cloud of a nuclear explosion. Circled around are the creatures of the world, bleached to white, and chained to a monument representing financial and hegemonic world order. Around the outer circle are human remains, indicators of the endgame, zero-sum logic of mass consumption and inequity.

Psychological map of Bellevue, depicted as a living entity with the Bellevue Arts Museum (BAM) in the center.

An underground view of mycchorizal networks intertwining, sometimes erotically, with human skeletons.