Cake It is an single-channel experimental video that explores the cycle of idolization and destruction through cakes representing figures of influence. The work critiques how capitalism commodifies figures of power, turning them into fleeting, consumable objects. Using rapid-cut editing, vibrant colors, and glitchy imagery, the piece reflects on the ephemerality of iconicity and iconoclasm. By exploring the religious nature of how modern capitalism is revered, Cake It exposes the make-believe nature of capitalism, thus the opportunity to reclaim personal agency in a commodified world.

In Dissection, the preparation of chicken exists as the congenital nature of internalized misogyny. The two women respond differently to their circumstance, though in neither is the “body” left untouched. In the end, the women join to care for the bones through burial, giving the body back to the earth—back to itself.

Give out Light is a two channel video installation offering a double narrative. In one, a suited figure, presented as an ambiguous authority, inspects a sleeping body: poking, prodding, and taking notes. In the second, the sleeping person chases the suited figure through a dark, abandoned church, together reaching a stained-glass-lit expanse. The video installation, presenting as a bedroom scene, questions institutionalized power structures by telling the story of parallel truths.

In trance states, the barrier between being and universe breaks down. amorphisms II uses experimental video to document the smallest and most amorphous forms of being—eggs and cells—exploring rebirth through the incomprehensible.

amorphisms II is one slice of a multi-part collaborative work, into the unified field. The work was created for exhibition at International ImageFestival 2024 as part of UTadeo’s artist residency program in Bogotá, Colombia.

Kissing Lessons invites the viewer to participate in lighthearted slumber party antics overlain with horror and unease. It is a classic lesbian coming of age story gone sadistic—in hyperbolic extension of how these experiences are understood at the time.

In Fish Department, the fish is the spectacle, hoping to be chosen; always observed but never seen. When the subject gains awareness of this construction, its internalization and inescapability become clear. The aisles of glass tanks and the murky pool exist as reflection, the gaze is both upon her and is her.