Art & Creative Practice
About Me
I am an interdisciplinary researcher, maker, and artist based in Cambridge, MA.
My work centers around the questions of how we make and remake the public spaces, technologies, and communities that we share and inhabit together. Across projects, I’m drawn to particular places, their boundaries, and their histories: the wild turkeys of Cambridge, a lost stand of oaks in Belmont, the neighbors in my apartment building’s laundry room. I often use art-making or technology as an occasion for coming together across boundaries — human and non-human; digital and physical; algorithm and hand; artist and audience; present, past and future.
I see my creative practice as entwined with my academic research. I am Research Lead at Plurality Institute, a nonprofit focused on technology and cooperation, and an incoming postdoctoral scholar at the Block Center for Technology and Society at Carnegie Mellon University, where I study technology governance, drawing on interdisciplinary training in social science and science and technology studies (STS).
Turkeys in Public Space (2025-Present)
with Quinn · Project page
Turkeys in Public Space is a community documentation and zine project about the wild turkeys that live in and around Cambridge and Boston. The project combines a handmade photo zine with a public website, where neighbors can share stories and observations of their encounters with the ever-present turkeys (which can then be included in the zine). The project is about centering the ways in which non-human stakeholders inhabit public spaces primarily designed by and for humans. The local turkeys are a visible vanguard of the non-human: bold, and ever-willing to inhabit spaces (roads, sidewalks, parks) not designed for them.
Zine cover print illustration by friend Marika McCoola.
Blue Lines + Future Coral (2022)
with Evan & Jesse · Data Through Design: Ground Truth IRL, Brooklyn, NY · Project page
Blue Lines + Future Coral was an exhibition at Data Through Design’s 2022 exhibition Ground Truth IRL. The project attempted to render sensible the growing socio-environmental problems involving water, the people of New York, and our climatic future; like all issues related to climate change, these problems are both material and political. The project combined flood data from projected sea level rise maps with US census data, interviews, and drawings to imagine future waves of climate-driven displacement within the neighborhoods of New York, and explore their uncertain consequences. At a macro level, we visualized New Yorkers as dots, initially washing away from the city as flood waters come in, but eventually re-aggregating as generative, coral-like forms that represent unknown future communities. We paired this with “on the ground” drawings and interviews taken from flood-prone areas of the city, where we ask anonymous New Yorkers to reflect on the question: “If there was a flood, where would you go?”
Collaborative Art-Making Exhibition at Open Sauce (2023)
with Evan · Open Sauce, San Francisco, CA · Project page
We were exhibitors at Open Sauce maker fair in 2023 and 2024. Our exhibition involved building a custom set of tools, code, and machinery that invited conference participants to be collaborators in the art-making process, contesting the boundary between artist and audience.
Seance for a Stand of Oaks (2026)
with Elise · Quinobequin Review, Issue 7 (“Magic”) · Project page
Seance for a Stand of Oaks is a shibori natural dye project and written piece about remembering the Waverley Oaks in Belmont, MA – an influential stand of white oak trees which helped inspire the conservation movement in the United States. The piece was published in Issue 7 (“Magic”) of the Quinobequin Review, a place-based literary journal for the Charles River watershed. You can also read the full proof of the piece (PDF).
Scaling Down: Notes from the Laundry Room (2026)
Social Media + Society (forthcoming) · Project page
Scaling Down: Notes from the Laundry Room is a written piece describing an experiment in micro-scale technologically-mediated community organizing set in my apartment building’s shared laundry room. After sharing the piece as a blog post, I was invited to publish the piece in a 10th Anniversary Collection edition of Social Media + Society.
Zone 3 Art Scrim Installation (2024)
with Evan · Public installation, Allston, MA · Project page
With my collaborator, Evan, I was selected to display a series of artwork on scrim in Allston, MA as part of the Zone 3 Art Scrim Project. The work explored the intersection of technology, color, movement and the natural world.
Tree Portraits (2023)
with Evan · Project page
Tree Portraits is a series of machine-drawn portraits of local trees in Cambridge, MA. Portraits of humans serve many purposes — they may capture a likeness, individuate, honor, memorialize, or signal status & power. In contrast with our human relationships, we often relate to the natural world as a collective. We speak of “nature” or “the environment” at large, or conjure & reflect on the interests of whole groups (save “the rainforest”). How would it be to symmetrically apply the logics of individuation — typically reserved for humans — to non-human actors in the natural world? How might this open opportunities for new types of intimacy, honor, and connection that are built on such individuation? Who are the particular trees, plants, animals, that live in my area, after all? And what makes them different, special, and worthy of acknowledgement?
Loose Ends (2023)
Loose Ends is a collage made from photographs found while cleaning out the home of my late uncle.The process of cleaning out a loved one’s home is both intimate and distancing. The former because an unfiltered tour of a person’s physical things can shed new light on a person’s life; the latter because it can raise new, and unanswerable questions. What did you find appealing about this colorful — if a bit gaudy — tiffany-style lamp, uncle? Tell me about your trip to Alaska; what is the story of this photo you took The collage work is made from photos found in my uncle’s home, from old travels I do not know the stories of. The design of the collage is inspired by his gaudy lamp, whose origin story is also a mystery.
Hybridity (2024)
Week one · Week two · Week three
A series of pen-plotter and watercolor experiments exploring the boundary between algorithmic control, physical mark-making, and material unpredictability.
