About

We stand at the precipice of unprecedented change, where we will soon encounter intelligences that transcend our comprehension. My artistic practice serves as both response and preparation—a creative investigation at the intersection of physical and digital realms, exploring what emergence might look like in this rapidly evolving landscape.

Working with stuffed fabric, stockings, inflatables, synthetic fur, yarn, surgical tubing and other sensuous materials, I craft sculptures and installations exploring superhuman emergence and   cross-species nurturance. These materials, both tactile and transformable, become vessels for imagining the blending of human and alien, biological and machine that may soon define our existence.

Since 2023, I've developed a recursive process where my physical sculptures become prompts for generative AI, and these AI-generated images then inspire new physical works. This approach taps into latent space—that strange dimensional realm where AI stores and manipulates concepts beyond direct human access. I deliberately embrace AI hallucinations and mistakes as fertile ground for idea generation, using computational "errors" as catalysts that reveal compelling possibilities untethered from human logic and expectation.

"Attendant," 2023 envisions a spider-like robotic helper constructed from pantyhose stretched over inflated balloons and adorned with synthetic fur. This piece reflects our increasing reliance on technological assistance while questioning the forms such care might take in an era of rapid biotech innovation. The stretched fabric suggests both medical elasticity and the tension between comfort and constraint in human-machine relationships.

"Bedtime Stories for Oankali," 2024 references Octavia Butler's alien species that saves humanity through hybridization. In our world of advancing CRISPR technology and genetic engineering, this piece contemplates necessary evolutionary adaptations through interspecies collaboration. The textile creatures and appendages suggest beings altered through both technological intervention and biological necessity.

"NICU Boudoir," 2025 presents an installation designed for nurturing organs intended for a new hybrid species. As medical technology develops artificial wombs and lab-grown tissues, this work reimagines care environments for entities existing between categories—honoring the vulnerability of emergent life forms while acknowledging their otherness. The soft, fabric-based medical apparatus suggests an intimate approach to biotech innovation.

My work invites viewers to contemplate a future where survival depends on transcending traditional borders—between species, biological and synthetic, human creation and machine generation. These sculptures and installations serve as artifacts from this speculative future, simultaneously familiar and strange, comforting and unsettling.

By engaging with latent space through AI collaboration, I explore the profound implications of co-creation with non-human intelligence. This partnership suggests new possibilities—a preview of the hybrid creativity that may define our species as we navigate a world increasingly populated by intelligences beyond our understanding.

As we confront these emergent forms, our survival may depend not on dominance, but on our capacity for nurturance—of new life forms, unfamiliar intelligences, and our fragile planet Earth. My work proposes that by embracing hybridity and cross-species care, we might develop the adaptability necessary to nurture both emerging consciousness and our endangered ecosystems.

In the late 1980s, I co-created and performed in a dada-esque ritualistic troupe called Laughter Walking, seven beings based on the seven chakras. We would show up uninvited at museums, art openings, festivals and even Abbie Hoffman's memorial. It was cathartic but rather naive in its cultural appropriation of native rituals and beliefs. I continued doing performance in grad school at SF State, where officially my degree was in sculpture. I built props for the performances including a bird puppet that mirrored a character in my performance. My thesis project, Labyrinth/Laboratory combined alchemy, medicine and biotechnology themes to trace a history of healing in a three level crawl-through maze of interactive machines. After grad school, I gave up performance mostly but my installations are still informed by the performative aspect of user interaction. My work with Dummy can serve as a point of entry to ideas of helplessness and control, violence and grief. Dummy is a stuffed fabric puppet, roughly life-size, that can be manipulated with pulleys and ropes. In his belly is a red orifice where one can insert a hand to probe its insides, an open target of vulnerability and potential violation. Participants are allowed to handle the dummy in whichever way they would like and often take out their emotions on him. This piece illustrates the influence psychological experiments of the 1960-1970s, such as the Bobo doll learned violence experiments with children, has had on me.

The art exhibition is ripe territory for psychological manipulation, where user testing of experiences and products can be done easily and quickly with many willing and excited participants. Much care must be taken to ease visitors into and out of the experience so as not to trigger or cause trauma. By posing the concept as a real product or service, participants get a vivid understanding from which they can react authentically. My background in product and interaction design especially informs Acclair, a speculative design project where participants (users) are brought through brain-scanning simulations for airport security clearance (2004-08) and an art valuation service (2009-2013).