A series of twelve Latex balloons were stuffed with found materials and nailed to four trees. The exhibition lasted for three days. Each balloon and the materials inside were subject to the changing environment. Many balloons deflated in the process, while others remained crystallized to the tree.

This sculptural moss structure is held together by fine strands of glue and arranged in a circular nest. Five sculptures from this exhibition were created of varying sizes and placed on small ledges surrounding the gallery. Guests were invited to touch and engage with the works however they wanted.

Light Force is an experiment series held in the evening. Sculptures were scattered along the windowsill and draped in tactile fabrics. Hanging from the ceiling were long strands of nylon, some extending to floor like a tear drop. The elasticity of the nylon prompted guests to play with the suspended structure like a swing.

Light Force II is a continuation of this experimental series focusing on illuminated sculptures placed on the ground rather than suspended in the air. Each vessel contains a myriad of colour, texture & material. These visceral elements contribute to the viewers overall sensorial experience. Guests were invited to engage with these works, but many just observed them from the floor.

This exhibition series featured a blend of Industrial and organic found materials. Every two months, material and form would change based on the collection. "Growth" used discarded objects and recontextualized them in the form of sculpture. Light is introduced in this work to soften the rigidity of metal and illuminate movement.

Annie was a three part exhibition series that used a life like doll and posed her in different environments over the course of two months. Each exhibition was staged as a celebration, so a handful of guests were invited to attend each event. There was no direction in terms of how guests could interact with Annie, so actions were completely uninhibited. The uncanny resemblance to a real life female generated a myriad of behaviours ranging from playful to destructive.

An exhibition series of 1" deep sculptures were bound together in a circular motion. 20 discs made of string and plastic were attached to fishing line and hung together at eye level. The lightness of each disc allowed for them to naturally begin spinning. A selection of ten more sculptures were mounted to the wall.

"Moderation" Came to me when I received a board game in the mail. surrounding this game was a very thin sliced piece of cardboard that unwound like an accordion. I knew immediately that this needed to find its way to a blank wall and pulled in all directions. I installed several nails around the five foot surface area. I wanted to see how far it would stretch before it would break, and I was surprised at its elasticity. Once Installed, "Moderation" grew as a 3D sculpture on the wall.

Wiggy was an experiment on Instagram to humanize an inanimate object. Not only does a wig have no mobility but it also has a non-art function. Using the archetype of the beloved animal accounts on Instagram, I positioned Wiggy in Aesthetic poses that sought to humanize or in this case satirize posts constructed by humans from the perspective of animals. Wiggy existed in the virtual space as a commentray on digital culture and a visually compelling archive of image and text.