The image is depicted across three translations: one of its erasure, one of its residue, and one of its maintenance.

This image was shot three years after a fire killed at least eleven of the complex’s residents. To see beyond the facades of its restored tableau, harsh cleaning chemicals dissolve, distort, and blind the architecture.

If you spoke to a ghost, what languages would they speak in? Would they agree or disagree with your views? And is it possible for them to reason with the living?

By turning paper objects into ash, this series engages the ceremonial process of sending messages and materials to the ancestral realm. The objects here are artworks—pieces that are too political to display under our current living circumstances. Transmitted to the metaphysical, these images envision how a past audience might react.

[See studies...]

Months before her cover was exposed, she was the girlfriend of the Party Secretary’s Executive Assistant. Whether the relationship was genuine or strategic, this unnamed spy held the key to something useful for the U.S. Rumors around her ethnicity are mixed and seem to matter. Now seventy years into the future, she reflects on the scenes and the forgetting which led to her being caught.

[View video here]

One in Three Artworks examines how three censored artworks can be shown. Drawing from Joseph Kosuth’s conceptual framework, One and Three Chairs, this project presents each piece instead by way of three distinct descriptions:

1. An institutionalized description of the work.

2. Generated renderings of these descriptions.

3. Translated dialogue of artists describing their work.

[See recent]

Drawings that grapple with our transition to viewing the world from a vertical perspective.

[See past]