guilty 2026

Lilith the Wicked presents a figurative form standing on a circular base, inspired by the mythological figure Lilith, often described as Adam’s first wife who refused submission and was cast out of Eden. The figure stands upright with wing-like forms rising from her back, suggesting both strength and transformation. Her elongated posture creates a sense of tension, as if she is caught between being grounded and breaking free. Thin red wire wraps around her body, acting as both a physical and visual element. It appears to restrain her while also drawing attention to her form, reflecting themes of control, resistance, and power. The circular base symbolizes an ongoing cycle, reinforcing ideas of rejection, independence, and self-definition. Rather than presenting Lilith as a villain, the sculpture shows her as a figure shaped by defiance, autonomy, and the choice to stand on her own terms.

Venus Hits the Snooze presents a small figurative form resting inside an oyster shell, referencing the classical imagery of Venus emerging from the sea. Instead of depicting movement or arrival, the figure remains curled and still, creating a quiet and intimate moment. The organic shape of the shell surrounds the body, forming a protective enclosure that emphasizes scale, texture, and contrast between the natural surface and the simplified human form.

The piece focuses on the relationship between the human figure and natural objects, using the shell as both a structural and symbolic element. Its small scale encourages close viewing, allowing attention to subtle surface variations and form. By shifting the expected narrative of emergence into one of rest, the sculpture highlights stillness and containment within an organic environment.

This piece was a part of a silk screen print series focused around the icon of sheep. Sheep to me, as a queer person who grew up in a conservative town, have always been under the negative connotation. Someone who is weak. A mindless follower. All applied to people just demanding to be treated as human. Where a conservative sees a mindless follower, I see community, and one that thrives off vulnerability, understanding, and resistance. I attempt to reclaim the icon of the sheep as symbol of power and resistance rather than weakness. The silk screen prints act as graffiti on top of the composite picture made from various photos I took around my neighborhood.

This piece was created in the darkroom using the Sabattier effect, which exposes a print to light twice to create inverted values. It is an exploration of creating art using chance and the abstract capabilities of photography.

Burial Nest explores nutrient cycles and the cyclical nature of death. Bodies will return to the Earth after death and aid other organisms in their growth. The piece is also an exploration of the balance between intuition and intentionality in art, combining unpredictable methods like cyanotype with meticulous mark making in graphite.

Vita Invenit Viam (Life Finds a Way) is a mixed media sculpture piece. Mounted on a gold frame, the T. Rex head was sculpted, molded, cast in resin, then painted using acrylic paints and draped in fabric. The "Sacred Heart" is created using air dry clay, painted with acrylic, and wrapped in a plastic barbed wire. Vita Invenit Viam is meant to question what the viewer chooses to worship. It has the potential to ask the question of what exactly do we put weight in, especially when it comes to science versus religion.

Small scale deer skull with baby hands growing instead of antlers resting on a silver plate.

You Are Part Of Me is a tribute to the loved ones in our lives who nurture our growth and help propel us toward becoming who we are meant to be. The large unstained slab symbolizes the roots of the tree we come from, while the thin colored slab represents the evolution of our own branching path. An emerald accent running through both pieces creates a visual throughline, suggesting that even as paths diverge, the DNA of where we come from remains embedded within us. The contrast between untouched old books and warping neon gradients reflects the spectrum of transformation that occurs from one generation to the next.

Carved limestone shown with the curved side out to the public and the textured side toward the wall. Illustrating what we defensively exhibit. Only additional interaction can reveal our true self

This piece was intended to have as much textural variety as possible, and to delve into and explore the properties of metal and other artistic principles within sculpture. Here steel cable, plate, expanded metal, and a large amount of scrap were welded together in accordance to a self portrait drawing.

This piece is a weave made up of two 22 x 30 pieces of paper of slightly different color cut into 1/8th inch strips held within a 5’’ Douglas fir frame stained in several different colors. Each paper has an excerpt from a different book copied onto it. Running horizontally “Psychopolitics” by Han Byung-Chul, and “Simulacra and Simulation” by Jean Baudrillard written in Purple and Brown ink respectively. Visually, nearly all text is rendered illegible, some rips, tears, and flaws have been left in and in some cases exaggerate. The piece is meant to consider the texts involved and their perspectives on reality and depart from them, principally the way that reality is influenced and constructed by the greater forces of capitalism and power, and how ultimately any one strand or force is obscured beyond recognition in the operational synthesis of conscious consensual reality.

A ‘not again’ piece, a warning or remembering that we’ve already been here, at violence, time and time again. Unfortunately, we never really put our weapons down, did we.

A self portrait done in iron looking through glasses made of my hands

TOTAL THINGS KNOWN ABOUT GERYON

He loved lightning He lived on an island His mother was a

Nymph of a river that ran to the sea His father was a gold

Cutting tool Old scholia say that Stesichoros says that

Geryon had six hands and six feet and wings He was red and

His strange red cattle excited envy Herakles came and

Killed him for his cattle

The dog too

—Fragments of Stesichoros, trans. by Anne Carson in Autobiography of Red

This photo is a part of my thesis that documents the journey of my mental health through the years of my life.

“My Face” represents the artistic expression of how one’s face and hair can imply multifaceted thoughts and ideas. The instantaneous thought one has when they see a person with hair covering a mass majority of their face is that of distrust, coming to the conclusion that one is cynical about the world. But the portrait’s expression and slight smirk says otherwise. The assumption that emo people are mean combined with the warm embrace of my expression and smile reminds the viewer that not everything is as it seems at first glance. One may look a certain way, but actions are what truly matter.

“Reeds Among the Water”  

A Hopi word which encapsulates both the serene and resilient aspects of our natural world. My family name, this word connects me to my heritage and helps me remember the strength of my ancestors and loved ones. 

A visual representation of one of the base struggles of disability- an inability to do many basic things without difficulty.

The hue in this photo was created manually using a pink cd case and a camera flash.

Sculpture of uterus made of wire hangers with a padded piece of fabric in the middle, pearls in the ovaries, and dripping red crystal beads.

My work is a large steel sculpture that explores the use of contour lines to imply a 3d form of a selfie portrait of myself. The composition of the sculpture is made up of different sizes of steel rods, sheet metal, and expanded metal, all welded together with some wire. Throughout the piece, you will see some parts of the steel are shiny, and some are left rusty for a contrast look to highlight the different surfaces of steel. I started this piece wanting the metal to conform to my shaping and aimed to create a symmetrical view of my face, but I ended up working with the nature of the steel to highlight the tilts and imperfections of my natural face. Overall, this piece can be viewed as a possible version of myself, not a perfect replication, hence the name “If I Were Steel and Wire.”

Born into a world of sparks and clattering strikes, the Other looks out upon a world of noise. He stays silent and searches for himself with jagged eyes forged to the fragile weight of himself.