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Street Art



A2960 is a sculptural statement on the future of human and technological coalescence. The naturalization of smartphones into everyday life has put them in a position to never be out of the user's hands whether this attachment is necessary or not. How willing people are to become emotionally and almost physically attached to their technology gives insight into what the future of smartphones might be. Transforming a plaster cast of my own hand into a visual representation of the iPhone is meant to represent both the current state of smartphone attachment and how technology may be further integrated into our own bodies in the future. Whether the logical next step in technology or the product of development that went wrong, the A2960 asks the question of how far should technology really be pushed. Should human-technology hybrids be explored to extend human function or should it be kept off-limits to preserve the humanity of humans? The A2960 is an interspecies experiment between the iPhone and the human, an exploration of what line must be crossed before we are no longer our own person. 



As someone who carries an epi-pen at all times, the press and price hikes on name-brand epi-pens were very personal to me. Making a piece in reaction became a top priority, even if it had to be fabricated on a tight budget. Referencing "break in case of emergency" cases seen in public buildings, I wanted to bring awareness to the impact high prices have on people who cannot afford epi-pens and run the risk of hospitalization or death without them. 



Don’t Go is about the futile and panicked attempt to preserve precious memories that fade over time despite how hard we may try to keep them. The wooden structure resembles the house my grandparents live in, a place of age and many memories. The objects inside are all encase in either sealed bags, clear vinyl that I sealed myself, or a substance resembling amber. All of these plastics and amber are a way that people preserve items or furniture they do not want to be ruined or to fade, which I used to preserve the memorial objects within the house. These preserving materials however, are also layered to obscure the objects within, to mirror how human memory functions. The more we try to hold on to memory and preserve it the more it fades and becomes unclear.


Stomach in knots is a sculptural representation of the visceral feeling stemming from frustration, anxiety, or excitement. A twisted, contorted mass, the sculpture is made from strips of 1/8" mild steel and mild steel rod. Most of the process was done cold or with very little heat, so the process of forcing the loops together would match the internal feeling it is meant to convey.



This 12"x12" plywood box began as a basic woodworking exercise, but I decided to obscure its construction using fabric. By upholstering the outside in soft fabric with cushioning underneath, the material identity of the wood disappeared. The inside was also transformed into a textural experience. The satin folds are purposefully left unattached so they envelop anyone who reaches inside.


Working with a strictly limited set of colors and materials, Progression is a set of masks that while not being identical connect to each other through their common elements. 



Made using MIG welding and a plasma cutter, this mild steel sculpture is a 6"x6" cube containing a draped piece of 1/8" steel sheet. Cut to mimic the famous melted look of Salvador Dali's clocks, the pooling sheet metal is meant to play with the visual idea of material being liquid while being physically solid. 

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