I have lived and work in Chicago since 2010. I hold undergraduate degrees in English Literature with an emphasis in creative writing and Art with an emphasis in art history. In 2012 I received a M.A. in Visual and Critical Studies from the School of the Art Institute of Chicago. Along with a solo practice that includes video, writing, photography, sound, drawing, and performance, I am a founding member of the artist collective and gallery space Okay Mountain established in 2006. Recent projects include Every Sentence Is Populated by the Voices of Others, a performative lecture series and pedagogical experiment hosted by Texas State University, and a solo project titled Say Goodbye and Shake Hands hosted by Storefront gallery in Chicago. As part of Okay Mountain my work has been collected and shown in museums and galleries across the country. Currently I teach in the Contemporary Practices Department as well as the Early College Program. In 2015 I will be teaching in the Visual and Critical Studies department as well.
I think of teaching as part of my practice and have recently been searching for more complex and robust ways to incorporate student activity. Teaching is not about inscribing information onto students, but rather encouraging critical thinking, which suggests that knowledge is not simply received by the passive student, but created through an act of engagement and a process of dialogue. Although the teacher or instructor holds a special position, this position is not about wielding authority, but showing how critical thinking can be used to better understand the world around us. It encourages learning through making and proposes that making is a form of learning. Critical thinking prioritizes questions over answers; is not about proving, but investigating. How does visual culture communicate, for what purposes, and in what contexts? To ask these questions means more than simply understanding culture, it means understanding how to intervene upon, change, and create culture.
Identity and the politics that emerge from identification have always had an impact on my practice. As such, I am interested in the way that the vernacular and the rarified work together; and how these two dichotomies can be forced into closer contact. A short list of influences would include: punk rock and its visual expressions, fanzines of all kinds, contemporary art, the history of art, history in general, cultural anthropology, book and graphic design, exhibition display, archives, feminism, Chicano/a studies, philosophy, reader response, metaphor, poetry, gesture, performance, theater, literature, sound, vintage media, political policy, and social parity.
Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.