Big Foot Picture Book
An interactive picture book exploring Henry Cowell Redwoods State Park in Felton, California. The surface narrative follows the narrator's search for big foot, while flaps throughout reveal pieces of the park's natural history.
""He's sure something keeps leaving footprints around his house. At night, he keeps watch from his windows, just in case he catches anything.
But then he's always saying odd things."
Completed in Fall 2018, using bookbinding, charcoal, handlettered text, and formatted using Photoshop and InDesign.
A compiled book of watercolor images painted on-site in Wilder Ranch State Park, in Santa Cruz, California. Interspersed with sewn-in elements of plants and flowers found in the park, this book functions as an appreciation of nature.
Completed in Summer 2017, using watercolor, pen, found plants and flowers, hand-stitching, bookbinding, and assembled using InDesign.
Lost: Determining a Sense of Presense
This book considers the extent to which an individual feels present in an environment, as determined by their sense of control.
"For the majority of my hike, tall trees filled my vision, an unfamiliar quiet sat in my ears, and smells of dust and leaves and cool shadows surrounded me, but I continued through the environment with aching limbs, a heavy pack, an overwhelmed head, and a hurried pace. Surely my own agenda changed my perception of my surroundings; I had not entered nature to have a relationship with the space, but only to leave it again."
Completed in Winter 2017, using a wooden box, watercolor, graphite rubbings, leaves, hand-cut paper, and arranged in InDesign.
Do Not Disturb
An illustrated pamphlet responding to the conflict in nature reserves and parks resulting from their desire to be free and open to the public, but also to protect the landscape and creatures dwelling there.
Completed in Winter 2017, using pencil, charcoal, pastel, pen, and a wooden box. Text and drawings arranged digitally using Photoshop and InDesign.
The Norwich Institution for the Blind
A book exploring the treatment of the visually impaired in the UK in the 1800s and 1900s.
Focusing on the Norwich Institution for the Blind (an institution that provided training and employment in certain skills such as basket making), this project reveals the isolation experienced by the disabled during this time period, even within such charities.
Completed in Spring 2016, using willow branches, construction paper, ink transfer, lino print, and embossing.
This project investigates six locations in Norwich where medieval churches previously existed until their demolition.
Completed in Spring 2016, using pencil, construction paper, brass bells, twine, and bookbinding.
The Human Cost of War
This piece was inspired by the performance of Boston-based performance artist Joanne Rice.
Beginning in 2007, Rice’s performance “The Human Cost of War” involved bringing 100 stones every day in a white box to Trinity Church in Boston, to pray and meditate on the loss and suffering brought about by the wars in Iraq and Afghanistan. The piece lasted for two years, and what began as a small pile of stones in Copley Square grew to be a large mound, serving to remind the public of the suffering overseas and the death brought about by war.
This project of the same name investigates Rice’s two-year experience. The white box in which my text and visuals lie references the white box used to bring the stones to Trinity Church. Inside the box, a grey booklet contains excerpts from interviews with Rice and her husband, illustrating how the performance was planned, how the public reacted, the various logistics of the performance, and their thoughts on the meaning and transformation of the performance as artist and observer. Below this booklet are watercolors documenting the performance’s progression. The watercolors are painted on four different colors of paper, hand-dyed to illustrate the progression of time through the seasons of the two years. Atop both the booklet and the watercolors lies a stone from Nantasket beach, where most of the stones used in the performance are from. The cross-shape the box opens into reminds the viewer of the
performance’s aspects of loss and spirituality.
Completed Spring 2015, using bookbinding, watercolor, pencil, and ink.