Time Kills, 2023

Three-channel video installation with sound: three synchronized channels, three Samsung “The Frame” tvs, three walnut and steel easel stands, aluminum waiting bench; dimensions variable; running time: 06:54 min. each loop (synched)


Sound Design: Till the Teeth (Sandesh Nagaraj and Jonathan Rodriguez) and Whitney Lynn 
Performers: Whitney Lynn, Till the Teeth, Barry Olusegun-Noble Despenza, Tiffany-Ashton Gatsby, Swaleha Masude & Sarah Torres

Cowboy Movie, 2022

16 mm film (expired East German film stock); installation dimensions variable; running time: 00:31 min loop.

Camera: Juan Carlos Alom

Produced by El Espacio 23/Fotografía en Movimiento, VIII Edición

Inertia Studies, 2020-23

4k video installation, monitors hung salon style; dimensions variable; running times variable (loops)

Vanity of Vanities (Sign of the Times), 2022

Neon tubing with argon gas, acrylic, transformer, cable; 27 x 40 in

Before the Wax Melts, 2022

A retelling of the myth of Icarus through the lens of Fellini’s La Dolce Vita. Performance in seven acts with drones and suite of feathered sculptures composed from vintage burlesque fans and boas, synthetic hair, sequins, cultured pearls, noisemakers, rhinestones, and plastic tinsel. Staged above the main exhibition tent at the Untitled Art Fair as part of the Monuments program, curated by Omar Lopez-Chahoud.

Flight Operations Director: Kellen Lynn, Aerial Photo/Video: Casey Hansen, Terrestrial Photo Documentation: Carolina Menendez

Trompe-l’oeil (Bikini TShirts), 2021

mixed media on paper

The Siren, 2019

4k video with sound; dimensions variable; running time: 14:36 min (loop)


Installation on Burke-Gilman Trail, Seattle, WA: vinyl, aluminum; 6 x 120 ft; commissioned by the Office of Arts & Culture in Partnership with Seattle Public Utilities

Sirens, Silencers, Mufflers & Mutes, 2019

Solo exhibition of (sound absorbing) cotton Jacquard tapestries, altered bugles, and works on paper tracing the transmutation of the mythological Siren.

I Know It When I See It or The Crossed Eyes of the Beholder, 2020

Suite of archival pigment prints on Legacy Etching 100% cotton fibre 314 gram paper, custom case, red/cyan glasses (needed to view/reveal images -- close one eye or turn your head); each 8 x 10 inches; edition of 25 + 2 AP

Forbidden Illusions, 2019

Suite of archival pigment prints (red/cyan glasses needed to reveal/conceal areas of the image); dimensions variable

The Scream (hey there beautiful!)
, 2019

Lenticular prints and found envelope; 9.5 x 18 in 

Sierenes, 2019

Oil stick on tea towel; 35 x 21 in

Good Girl, 2018

Tattooed and petrified grapefruit; dimensions unstable

FOOL, 2017

Three channel video; sound; running time: 00:31 min loop. 

A figure shrouded in a ghillie suit attempts to lure a coyote in San Francisco’s Golden Gate Park. A recontextualization of Joseph Beuys’ I Like America and America Likes Me; created while an artist-in-residence at the de Young Museum, San Francisco.

Performers: Maria Dawn and Whitney Lynn
Sound: Whitney Lynn and Lena Tseabbe Wright

Not Seeing is a Flower, 2017

Ink on adhesive polyester mounted on glass; 4.7 x 39 ft; 2017

Site-specific installation created in response to the “Muslim Ban” – a series of executive orders that banned nationals from several Muslim-majority countries from entering the United States, including refugees fleeing genocide. Each flower in the composition has a relationship to countries affected by the travel bans, including official national flowers, ceremonial bouquets, native plants and images appropriated from Colonial-era postage stamps.

Commissioned by the San Diego International Airport Arts Program

Memorial Bouquet, 2016

Backlit pigment print, acrylic, LED, steel, automotive paint, rubber; 60 x 36 in; 2016

Temporary installation in the San Francisco War Memorial Veterans Building; a proposal for a permanent stained glass installation to memorialize civilian populations impacted by U.S. military interventions. Created in response to a series of existing stained glass windows that glorify war through troubling imagery.

Each flower in the arrangement is chosen for its symbolic relationship to nations that have been sites of US military operations and conflicts. The composition appropriates a variety of sources including Dutch and Flemish paintings, stock photography, botanical illustrations, and images distributed through social media.

Commissioned by the San Francisco Arts Commission Galleries for Not Alone: Exploring Bonds Between and With Members of the Armed Forces


Remember You Must, 2023

Performance with Till the Teeth (Sandesh Nagaraj and Jonathan Rodriguez). A component of the exhibition Time Kills, the performance traced the history of 17th century still life painting, a genre that flourished in the Netherlands during a period defined by Dutch colonialism and their prominent participation in the transatlantic slave trade.


HOLD, 2023

Site-responsive performance with Gary Champi, CHARI, and Till the Teeth (Sandesh Nagaraj and Jonathan Rodriguez). Interactive performance responded to the brutalist architecture, design history, and current social conditions of Freeway Park in downtown Seattle, WA.

PSA Miami, 2021

Bus bench billboard project with Cara Despain, Jean H. Marcelin, Juan Luis Matos, Rachelle Salnave, Sandra Ramos, and Tony Labat. Project worked with local artists and was installed throughout Miami-Dade county, FL.