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)︎︎︎ WATCH VIDEO
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); dimensions variable; running time: 00:31 sec. (loop)Camera: Juan Carlos Alom
Produced by El Espacio 23/Fotografía en Movimiento, VIII Edición
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Before the Wax Melts, 2022
A retelling of the myth of Icarus through the lens of the opening scene of Fellini’s La Dolce Vita. Performance in seven acts with drones and a suite of seven feathered sculptures composed from vintage burlesque fans, 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.
Before the Wax Melts, 2022Flight Operations Director: Kellen Lynn Aerial Photo/Video: Casey Hansen Terrestrial Photo Documentation: Carolina Menendez
Inertia Studies, 2020-23
Ten-channel video installation with sound; monitors hung salon style, dimensions variableThe Siren, 2019
4k video with sound; dimensions variable; running time: 14:36 minPerformer: Sarah St. Leger
WINE DARK SEE, 2021
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.︎︎︎ San Francisco Chronicle review
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 
The Scream (hey there beautiful!), 2019
Trompe-l’oeil (Bikini TShirts), 2021
oil stick on paper; dimensions vary
After the Fall, 2016
Suite of drawing proposals that remake canonical paintings of temptresses into lurid neon signs. Produced while an artist-in-residence at The Neon Museum, Las Vegas.Las Vegas Weekly | KNPR Nevada Public Radio | Las Vegas Review-Journal | Bass & Reiner Gallery | San Francisco Chronicle
Vanity of Vanities (Sign of the Times), 2022
Neon tubing with argon gas, acrylic, transformer, cable; 27 x 40 in
Memorial Bouqet, 2016
Backlit pigment print, acrylic, LED, steel, automotive paint, rubber; 60 x 36 inTemporary 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
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Not Seeing is a Flower, 2017
Ink on adhesive polyester mounted on glass; 4.7 x 39 ft
Not Seeing is a Flower, 2017Site-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
FOOL, 2017
Three channel video; sound; running time: 03:07 minA 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
Working Theory, 2015
Concrete, sofa, shag rug, cement-dipped sheets, coffee table, leather chairs, brass lamp, pillows, AM radio; approx. 9 x 8 x 8 ft (2.7 x 2.4 x 2.4 m)A precarious arrangment of furniture is fixed in place with cement, melding the image of the children’s fort/military bunker. In addition to mounds of concrete at the base, sheets were dipped in cement and hardened in place, reminiscent of classical marble sculpture. A lamp and radio were cemented to the interior floor, the radio was set to a local right-wing station and blared continuously.
Living History/Performing Death, 2014-15
Series of performances in Richmond, Virginia casting American Civil War reenactors to “play dead.” The performances were staged in galleries within close proximity to Monument Avenue, a boulevard named after a row of Confederate statues erected during the Jim Crow era to promote the Lost Cause myth.
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SELECTED COLLABORATIVE PROJECTS
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.Collaborator Role: Performance Visuals
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.Collaborator Role: Organizer
ELECTRIC ARCHITECTURE, 2017
Presented in San Francisco on the 50th anniversary of the Summer of Love. Installation included a series of 25 Blacklight Trap collages; blacklight bug zappers; a nuclear disarmament (peace sign) bar; an "N" "D" semaphore mural; glow-in-the-dark atomic bomb-themed cocktails and UV ink re-entry hand stamps; and the participation of a bouncer, bartender, and rotating DJs. Collaboration with Tony Labat.Collaborator Role: Co-creator
SELECTED CURATORIAL PROJECTS
PSA Miami, 2021
Group exhibition of bus bench billboards featuring the work of six contemporary artists based in South Florida. Participating Artists: Cara Despain, Juan Luis Matos, Rachelle Salnave, Jean H. Marcelin, Sandra Ramos, and Tony Labat
Deceptive Actions, 2017
Platform for performance organized at the de Young Museum. The event featured new works by four emerging artists with 21 additional collaborators.Participating Artists: Greta Liz Anderson, Maria Dawn, Izidora l LETHE, Sarah St Leger
Performance documentation: Sarah St Leger, The Joke, 2017
Performers: Nathalie Brilliant, Christine Lee, Robin David, Tina Kashiwagi, Minoosh Zomarinda, Cristina Velazquez, Ouree Lee, Lisa Pradhan, Hannah Schulman
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Izidora l LETHE, simple form(ation)s, 2017
Performers: Buddy Whistler, Dana Morrison, Guta Galli, Jessica Fertonani Cooke, Juan Luis Matos, Matia Emsellem, Rebecca Struch, Ruvi Torres Fetsco, Silk Worm, Zoë Leonard, Zulfikar Bhutto
Performance documentation: Sarah St Leger, The Joke, 2017
Performers: Nathalie Brilliant, Christine Lee, Robin David, Tina Kashiwagi, Minoosh Zomarinda, Cristina Velazquez, Ouree Lee, Lisa Pradhan, Hannah Schulman
Izidora l LETHE, simple form(ation)s, 2017
Performers: Buddy Whistler, Dana Morrison, Guta Galli, Jessica Fertonani Cooke, Juan Luis Matos, Matia Emsellem, Rebecca Struch, Ruvi Torres Fetsco, Silk Worm, Zoë Leonard, Zulfikar Bhutto
Mistaken Impressions, 2016
Multi-media exhibition challenging relationships of perception, truth, and illusion through conceptually deceptive objects, videos, photographs, and works on paper. The works include wryly humorous attempts at fakery; explorations of the body; metaphors regarding race and gender; alchemical experiments; recreations of personal documents; invented mythologies; and objects that are not at all what they seem.Participating Artists: Susi Brister, Nelson Enrique, C.A. Greenlee, Bean Gilsdorf, Michael Hall, Rebecca Hall, Mark Harris, Amanda Kline, Melissa Koziebrocki, Tony Labat, Jennifer Locke, Steven Vasquez Lopez, Mads Lynnerup, Mie Hørlyck Mogensen, Marcela Pardo Ariza, Wilfredo Prieto, Stephanie Rohlfs, Lauren Ruth, Virginia Samsel, Chris Sollars, Tim Sullivan, Chris Thorson, Lindsey White, Megan Wynne
︎︎︎ Charles Demarais, “Make no mistake, catch latest Root Division exhibit,” San Francisco Chronicle, Jan. 27, 2016
︎︎︎ Kimberly Chun, “‘Mistaken Impressions’ explores the inspiration of trash,” San Francisco Chronicle, Jan. 6, 2016
