This big, beautiful practice of mine is the coalescence of the many creative endeavors I’ve pursued throughout the past several years. Though my practice is primarily made up of my visual art, I am also a practicing printer, designer, illustrator, fabricator, art technician and shop manager. I’ve lived and worked in Portland, Maine since graduating from the Maine College of Art and Design in 2015. I am a studio manager at RWS Art Studios, which is also the base of operations for my creative practice. My artworks are a part of numerous private and corporate collections throughout the US and have been exhibited in various non-traditional and traditional art spaces in Maine and elsewhere. Notably, in 2016 I was the first ever artist-in-residence at the Bigelow Laboratory for Ocean Sciences, working closely with their scientists to imagine and build a two-story suspended printed installation titled Colorcosm. I am the recipient of several grants, including two Maine Arts Commission project grants, and the first recipient of the EPIC Grant, an award established by Canopy Hilton and MECA&D to highlight artists who’ve built and maintained their practice in the Portland area. I’ve sustained an independent practice for the past seven years working on many large scale commissions, commercial collaborations and a multitude of creative projects. My work is inspired by my interests in natural phenomena, perception and psychedelia. By embellishing and transforming seemingly ordinary elements of the natural and manufactured world, I hope to encourage a fantastical reevaluation of peripheral experiences. I am frequently drawn to intersections in printmaking, painting and installation. My ghost gear series utilizes a large collection of fishing industry and pedestrian flotsam that’s become increasingly abundant in coastal landscapes. I use these materials to create swirling, tangled masses and snarls, most commonly in the form of large scale, prismatic and one-of-a-kind screen prints. Ghost gear became a focus not solely for its visual qualities, which I use as a kind of chaotic layering tool, but also because it’s so commonplace that it’s become irrevocably part of the “natural” landscape. Newer works in this series, through otherworldly, monster-like figuration, address the growing presence of plastics in the ocean, and in human and animal physiology at a multitude of scales.