installation

Graphite, house paint, gouache, videos in digital picture frames, monitor with headphones, notebook with pencils, furniture. Dimensions variable. 2024

One of three installations in three exhibitions scheduled concurrently, BMP Station 3 is presented in the Throughline exhibition, Troubling the Boundaries, featured in Artist-Run, Artist-Organized, hosted by FotoFest at Silver Street Studios, Houston, TX. Oct. 7 - Nov. 16, 2024.

Learn more about the Brio Memory Project HERE.

Installation photo © Jake Eshelman 2024

Presented as part of the exhibition River on Fire at DiverseWorks, Houston, TX. September 28 - November 16, 2024.

Learn more about The Brio Memory Project HERE.

Foreground: Be Here Now, by Kristi Rangel.

River on Fire, Installation documentation, 2024. Photo: Sol Diaz-Peña. Courtesy of DiverseWorks.

© DiverseWorks, Houston, 2024

Presented in the exhibition Solastalgia, San Jacinto College South Gallery, Houston, TX. October 7 - December 6, 2024.

Learn more about The Brio Memory Project HERE

Graphite, pastel, ink, vellum, paper, pins. 96 x 240”. 2022

Presented as part of Boxo 10 x 10, a 10-year-anniversary survey exhibition of work by artists who have participated the BoxoProjects Artist Residency Program, Joshua Tree, CA. Read more about Entanglement here.

Graphite, pastel, ink, vellum, paper, pins. 96 x 240”. 2022

Boxo 10 x 10, BoxoProjects, Joshua Tree, CA. On view Nov. 19 - Dec. 31, 2022.

Graphite, ink, pastel, product ads, cotton embroidery floss, vellum, paper, pins. 107 x 122”. 2022

Read more about the concepts and motivations behind this piece here.

Acrylic, dimensions variable. 2016

A temporary site-specific wall drawing created for the “In Search of the Frightening and Beautiful” exhibition at Cherryhurst House in Houston, TX (USA).

Acrylic, dimensions variable. 2016

A temporary site-specific wall drawing created for the “In Search of the Frightening and Beautiful” exhibition at Cherryhurst House in Houston, TX (USA).

Acrylic, dimensions variable. 2016

A temporary site-specific wall drawing created for the “In Search of the Frightening and Beautiful” exhibition at Cherryhurst House in Houston, TX (USA).

Site-specific installation with chalk on concrete wall supporting the Williamsburg Bridge in Brooklyn, NY. 2007

The installation was comprised of words and phrases stenciled onto the wall in chalk, based on bits of conversations overheard in the surrounding neighborhood. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

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site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY.  Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY.  Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY.  Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY.  Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

Text stencils

Site-specific installation with chalk on concrete wall. dimensions variable. 2007

Words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY. Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

text stencils

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY.  Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY.  Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY.  Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

site-specific installation with chalk on concrete wall. dimensions variable. 2007

words and phrases based on bits of conversations overheard in northeastern Williamsburg, Brooklyn, NY.  Hard/Soft was presented in conjunction with Conflux 2007, a festival of projects exploring the urban environment.

Vox Populi was created for the Visual Arts Center of New Jersey in Summit, NJ, as part of an exhibition titled Between To and From, in 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

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Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Vox Populi was created for the New Jersey Center for Visual Art in Summit, NJ, as part of an exhibition titled Between To and Fromin 2008. To prepare for this piece, I recorded conversations overheard in bars, restaurants, shops and sidewalks around Summit, then edited the text down to essential words and phrases. For the installation, I painted these words in subtle, barely noticeable colors onto the walls of “transient” interior spaces, such as hallways, stairwells, bathrooms, and water fountain nooks.

Yarn, thread, nails and house paint. Dimensions variable. 2004

A temporary site-specific installation made at White Columns alternative space in New York City as part of the group show “Score: Action Drawing”, curated by Marissa Olson in 2004. “Ode to a Suicidal Engineer” takes its inspiration from an urban legend surrounding the alleged suicide of a civil engineer who supposedly led the design team responsible for a particularly dangerous section of Interstate 35 that cuts through downtown Austin, Texas.

The piece occupied the entire entrance to the gallery and ran along the ceiling, disappearing behind some conduits toward the back of the space.

Thread, twine, nails. Dimensions variable. 2003

A site-specific installation created as part of the 2003 group show “Mark: Contemporary Drawings”, curated by Griff Williams for Gallery 16 in San Francisco. The piece was inspired in part by the deterioration of Tucumcari, New Mexico, a consequence of the construction of Interstate 40 which directed traffic around, and away from, the center of this once-thriving rural town. Appearing as a single wavering line, the piece directed one’s gaze onto the gallery floor, ceiling, out its door and into the hallway, up a flight of stairs, in and out of a room used for storage, and out the building’s 3rd floor window.

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.

One of several hand-stitched pieces I made for my collaborative project Cracks in the Pavement: Gifts in the Urban Landscape in 2004. These were based on portraits taken from a 1968 Austin-area high school yearbook that I encountered at a rummage sale in South Austin, where I was living at the time.

For Cracks in the Pavement, Austin-based and international artists placed art works in spaces meaningful to them, leaving them onsite for others to encounter, take and keep.