I’m experimenting with structures for artist cooperatives or collectives; co-running a new alternative arts space in SF; researching turn-of-the-century mugshots taken by a female photographer from Northern California mining country; wondering about how to use sensory experiences to circumvent our intellectual minds when engaging with art; reading about historical leftist movements and their relationship to art and architecture.

In no particular order

I led a free class centered on studio visits with female artists working in fiber alongside Victoria Manganiello for the NYPL; served as the voice of a naked sculpture in an interactive VR arts project; thought about how to blur the line between craft and fine arts at a multi-disciplinary residency alongside artists, activists, and researchers in Oaxaca, Mexico; helped artist Delphine Desane to facilitate commissioned portraits of music legends for a special edition album cover; talked about the influence of cartoons and pop culture on the work of Bulgarian artist Martina Vacheva; delved into archival research to recreate a 1973 Nancy Holt installation, becoming fascinated with the simplest of shapes; presented a paper about 19th century Shanghai workers’ housing at a conference in Estonia; obsessed over the 19th c game of tableau and made it slo-mo; wrote a master’s thesis on two houses built in 1929 in Mexico City and Tunis; ran storytelling workshops and an interactive performance show for DACA-recipients in South Williamsburg; spoke about naughty illuminated manuscripts and represented “paintings” in a debate against “dinosaurs” (shoutout @dinosaurwhisperer) at Caveat NYC; was accidentally a featured voice in a performance piece by Joelle Tuerlinckx at Dia Beacon.