NEW YORK CITY 10.2018
Gallery Madison Park
Madame Trefaux (née Simone) was born in Bouville and married a businessman named Robert from Mulhouse. They lived in an 18th-century row house on the edge of the old town. Monsieur Trefaux devoted himself to his enterprise and his appetite. He liked stewed meats, vegetables cooked in duck fat and custard desserts. As a hobby, he crafted small figurines of historical and mythic characters. He gave these to relatives or arranged them on the shelves of his study. Mme Trefaux wouldn't allow them elsewhere in the house. Mme Trefaux had a white dog that required daily combing. She filled the house with plants of all varieties, flower prints, heavy brass lamps, ruffled trimmings, and overstuffed sofas.
Mimi, as she liked to be called, spent her days gardening and reading long romantic novels. She especially liked stories that had magical or symbolist themes. On occasion, she would host a meeting of the Charleroi Ladies Society which supported women's empowerment through charity work, lectures, and political organizing. Mimi was short for Margaux and it made her feel like she could be wearing a feather boa and a tutu. M and Mme Trefaux never had children and they never talked about why. On Sundays, they would drive in the country and eat lunch at an auberge or one-star restaurant. These outings began when they were courting and persisted...
NEW YORK CITY 5.2018
Garment District Alliance Space for Public Art
The Morning Routine tells the story of a fashionable and hardworking mannequin in the Garment District. The window installation shows a behind-the-scenes view of the mannequin’s morning toilette. The artist imagines mannequining as a glamorous, but exploited profession. Work days are long and mannequins are rarely acknowledged for their contribution. Staying on trend and upgrading damaged or tired body parts is a constant stress. Mannequins, like other workers in the Garment District, must attend to their appearances to navigate a successful career. At a moment’s notice, they can be replaced by a newer model and end up in a back room, or worse—the street.
An installation in an abandoned hotel in Miami's North Beach. Works on view included ten Spare Fingers hung off the existing architecture, a bound and chained Flesh Ring, and arms hung from the ceiling and lying on the floor. The work draws into question our technological, sexual, and social relationship with material culture by exploring fetishism, trauma and the body as a hybrid work-in-progress. Part of a group show whose works explored a post flesh moment where the essentialist body is fragmented as a ghost amalgam of materials, identity and specific cultural vernaculars.
A site specific haptic installation at Tresle Projects. The piece is aimed at producing non-optical connections within the viewer through touch. Created over several weeks of shaping, sanding and polishing, Touch Railing brings the sensuality of sculpture to the forefront by inviting viewers to caress and explore the varying textures of the object. The actuality and mindfulness required to experience this work is a counter to the increasing virtualization of life that ultimately alienates the body from its environment. Our bodies are responsible for mediating the relationship between interiority and exteriority, as well as being a fundamental part of how we orient ourselves in the world. A video of the artist caressing the object in a bare domestic space serves as an illustration of the body's uncanny potential in relation to the built environment.
The Soothing Center is an alternative spa featuring interactive artworks aimed at combating the daily bombardment of negative stimulation embedded in our material and media cultures. Sensory based therapies stimulate the mind and body at a molecular level while addressing an array of topics including the intersection of capitalism and wellness, body politics, intimacy, and the failures of language. Touch Belly consists of a subway tiles, a digital print, and a plaster model of the artist’s belly. The tiles are a surface treatment reminiscent of showers and spas. The plaster belly protrudes from the wall and embraces the uncanny qualities of the body. Viewers are encouraged to rub the belly to soothe their alienated selves.
NEW YORK 12.2015
Window installation at FOUR A.M., 291 Grand Street, NYC
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NEW YORK 12.2014
Created for a group show about voyeurism called "Rear Window Treatment" at Louis B James gallery. This interactive video sculpture live streamed cam models from chaturbate.com. Gallery visitors were able to models to play on the screens. Viewers faced each other while looking at one of the five screens.
SAN FRANCISCO 5.2014
A series of photocollage prints and site-specific installations inspired by the writing of such figures as Andre Gide, Ned Rorem, Kevin Bentley, Mercedes de Acosta, Jean Genet, Kevin Killian, Brad Gooch and John Rechy. Images evoked by these gay and lesbian writers served as starting points for work on the themes of liberated desire, glamour and death.
SAN FRANCISCO 6.2012
Taking its name from the Rudyard Kipling novel, and subsequent film starring Ida Lupino, the exhibition traces a slippage of intertextual relations, engaging viewers to look through one subject into another. In Kipling's novel, a former war correspondent finds success as genre artist and is laboring to finish what is meant to be his great masterwork—a painting entitled 'Melancolia'—as he is slowly consumed by blindness. The exhibition cross-references imagery related to the film, with Dürer's 'Melancolia I' etching and physique model Gordon Scott's star text, forming an arc from enlightenment and alchemy to colonialism, bodybuilding and fame.