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MASS MOVEMENTS

An ode to the leaderless, often indigenous, climate justice movements worldwide in 2019, Mass Movements demonstrates climate action as individual agency, with no central hero, united in science, looking up, with hope, in defense of the natural world.

The series is arranged so that the viewer, looking at the painting, must imagine looking up, must imagine having hope that humans have the collective will necessary to avert worsening catastrophes.

 

Mass Movements intentionally moves deeper, from a forest floor, to a seafloor, to a volcano chamber, to underline the importance of rooting deeply in this moment in earth's history, to imagine new (or maybe just ancient) ways to relate to earth and conduct business that are more regenerative and just.

Individually, the paintings have different concepts, developed alongside major climatic events in late 2019/early 2020:

  1. the rapid deforestation of the Amazon Rainforest (Forest Floor, Looking Up)

  2. rising floodwater in Venice and release of the IPCC special report on the Ocean and Cryosphere (Seafloor, Looking Up),

  3. Australia's ongoing fire disaster and volcanic activity in New Zealand and the Phillipines (Volcano Chamber, Looking Up) 

 

FLUX

"FLUX" series investigates climate change adaptation through the lens of individual readiness and community resilience. 

Planks/Gate

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(2)

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Viewed as either a walk across planks, or a gateway through space, (1) Planks/Gates is a funeral procession and a graduation walk, suggesting change, "FLUX," is simultaneously, death of a state and birth of a plane.

 

Inspired by Dr. E.O. Wilson’s work on advanced social organization of humans and ants, (2) Eusociality asks: what can insect intelligences teach humans about how to adapt to changing climate conditions?

 

On July 4, in my Los Angeles studio, I experienced an earthquake, as the ground turned into, what felt like, sea waves. Afterwards, I felt hundreds of (3) Aftershocks, real and remembered, testing my personal readiness to adapt to local, natural events. Spoiler: I was ill-prepared.

NOUNS/VERBS

Visual re-definitions of nouns and verbs, an Anthropogenic exercise in questioning the values systems underlying the English language.

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In "Nouns," freedom is defined as a creative stream, moving toward an eye, an "I," integrity is the (1) Free WayImagining one human as (2) A Building, Changing asks: how can we better relate to earth without diminishing resources? (3) Biospheric Awareness exhibits ecological responsibility as awareness of how human influence reaches into the stratosphere and down to earth's bedrock.

"Verbs" document the motion of organic growth, in ecosystems and as change in consciousness. (4) Seed (verb) is an ode to the moment a seed first opens in soil. Inspired by the force propelling a plant to mature, (5) Flower (verb) blooms as a natural reminder to strive well. (6) Brave (verb) celebrates the beauty of entelechy, the motivation for full expression, as a plant's core undertaking.

FLORA

Flora expresses visually, biomimicry: the consilience between garden and mind, art and biology, flora-psyche, human-earth.

 

As human-induced, changing climate warns – it is increasingly important to see humans more reciprocally as a species interdependent within the natural world, not as separate and above.

 

BIOPHILIA

At the center of the human experience exists a tree, capable of deep-rooted, far-fruiting flourishing.

Biophilia is the expression of the one such tree in me, in us. 

Termed by Dr. E.O. Wilson and others, "biophilia" is the inherent connection humans feel with the violent, elegant biological dance of the natural world.

Seeds, trees, and Sapiens flower only when healthy, restorative relationship is established between other living organisms - plants, animals, fungi, etc - we all root in one biological reality and require soil fecundity, sun, and rain to sustain and creative inundation to regenerate.

When All is Relationship is Earth, our greatest wealth is biodiversity of seeds and species and biophilia is the origin point of our felt interrelatedness.

 
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UNITY

To better conceptualize how the global community needs to unite and respond to human-induced climate change, I explored the central question 'what is one?' - human, community, movement, ecosystem.

Each painting stands alone, while the whole series is much more than each part, just as each human is uniquely valuable to the larger environmental movement and each species' niche fosters ecosystem health.

When one and many commit to shared restoration of the interrelated web within and around, unity is as natural as root systems knowing cellularly, that we are better together, than we ever could imagine as isolated agents; humans fragment under the weight of culture's indoctrination of Otherness.

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