Selected Exhibitions

2019- University College Hospital, Macmillan Cancer Centre London, UK

The Arts and Heritage programme at University College Hospital Macmillan Cancer Centre in London has acquired the badges from my art based research. They are installed in the Teenage Cancer Trust ward where the research took place. The installation was made possible by Guy Noble, Arts Curator UCLH.

2015- Camden Art Centre London, UK

In the Summer of 2015 I participated in the London summer Intensive, a residency between the Slade Art Research centre and the Camden Arts Centre. During that time I produced these badges that are machine embroidered using a digital imaging process. The images are made by anonymous teenage and young adult cancer patients that were drawn in the co-design, art based research workshops that I facilitated at UCLH from 2013-2015 and in 2017. The images are expressions of their experiences of cancer. I chose the format of the badge as a wearable way to tell the stories about these experiences. The badge represents a reward or honour for a level of achievement.

2011- San Francisco Museum of Modern Art, CA

Shadow Shop was a gift shop/installation situated within the Museum curated by artist Stephanie Syjuco. The inventory of the shop consisted of products made by artists and makers that fall outside of the establishment and recognizable names that can be found in the SFMOMA gift shop. I contributed my book Fiction 10 and digital prints to the installation. I was paid by the SFMOMA by cheque for my books that were sold in the Shadow Shop. Fiction 10 can be found at Make the Women's Art Library Special Collections at Goldsmiths University of London.

2010- Constance Howard Gallery and Make Womens Art Library,  London UK

Performance, my MA exhibition for Digital Media, Technology and Cultural Form was presented in two parts. One part at the Constance Howard Gallery Centre for Textiles and another part in Make Womens Art Library, Special Collections, Goldsmiths University of London. It was there that I launched my book Fiction 10. I exhibited original drawings from the book, animations, digital collages, and prints. In the animations I repurposed out of date technical training videos from Silicon Valley California. I collaborated with the existing video imagery by introducing analogue interventions and 3D sculpting methods to create a non-linear narrative. The prints are artifacts from this narrative and my research.

2009- Mohr Gallery Gallery,  CSMA Mountain View, CA

Mohr Gallery is housed within the Communtiy School of Music and Arts. CSMA is one of the leading non-profit art education organizations in the bay area. I taught animation and digital arts there for three years. In this exhibition I explored tensions between abstraction,digital media and analogue media like painting and collage. Particularly capturing what arises when either is manipulated to embody the other.

2008- San Francisco Arts Commission Gallery, CA

This wallpaper installation was made using A4 black and white photocopies of a repurposed design from my archives. I used only a stapler and a ladder to install the photocopies. This is the back wall of the storefront of the Grove Street building owned by the Arts Commision Galley. It is on a busy street facing city hall, and the front window creates a performative space. I worked all day and night until the wall was complete. The sound of the staples being pressed into the wall and witnessing the repetitive pattern unfold, became a process of meditation and endurance. The painting that I placed on the upper left hand corner, I found in the back store room with no signature. the other objects are talismans that I added to signal completion.

2006- Yerba Buena Center for the Arts, San Francisco, CA

The Zine Unbound was curated by Berin Golonu. It was a show that celebrated independent and DIY publishing. It was a collection of exploded zines of sorts and the artists within the zines exhibiting on the walls of the museum. I was part of Hot and Cold's zine. I made wall paper from one of my paintings. My paintings do not have edges so when they are tiled and repeated they make blended continuous patterns. I included an animation wich I made from antique stage sets that were a part of my grandfathers collection from his pawn shop in Pismo Beach, CA. The animation interpreted the poem Lines written by Rimbaud in 1874. I added on top of the wallpaper some collage works, both digital and analogue from the stage sets. The wall paper was used for the introduction to the show.

2003- Linc Art, San Francisco, CA

For Hook and Loop, I exhibited paintings, works on paper, animations and installation work. This work is a study of the natural world through abstracted forms. While drawing and painting I simultaneously compose animations in an improvisational style using the vernacular of my paintings. This relationship between the analogue and the digital being somewhat of a Hook and Loop. These works that are drafted in graphite and then painted, hold the tension of computer graphics. When I am painting the colors and crispness of computer graphics are a kind of measure for my paintings. 

The title Hook and Loop comes from the hook-and-loop fastener other wise known as Velcro that was conceived in 1941 by Swiss electrical engineer George de Mestral. The idea came to him one day after returning from a hunting trip with his dog in the Alps. He took a close look at the burrs (seeds) of burdock that kept sticking to his clothes and his dog's fur. He examined them under a microscope, and noted their hundreds of "hooks" that caught on anything with a loop, such as clothing, animal fur, or hair. He saw the possibility of binding two materials reversibly in a simple fashion if he could figure out how to duplicate the hooks and loops. Hook and Loop is viewed by some as a key example of inspiration from nature or the copying of nature's mechanisms called bionics or biomimesis.

2003- The Back Room Gallery, Adobe Books, San Francisco, CA

Peasants, Priests and Warriors was a solo show in a small gallery in the back of Adobe Books. This was when I discovered that my paintings had no edges and could be arranged to create repeating patterns a technique that I would use in later work. The green painting is now in the United States Embassy in Sophia Bulgaria.

2001- Southern Exposure Gallery, San Francisco, CA

Byproduct, Deviation from Design was curated by Neil Grimmer and Stephanie Syjuco. At the time I was working at a landscape architecture firm doing hand color rendering and miscellaneous art production. Having access to auto-cad, I began to conceptualize ways to utilize cad for fine art purposes. For this exhibition I created a series of imaginary landscape architecture plans and had them rendered in auto-cad. I then produced a sprawling abstracted interpretation of the plans on the gallery floor with paint, succulents, circular wood cut outs, spray paint and plastic jewels. This early work is an example of my interest in combining fine art, design and technology.