Curatorial Work Teaching Portfolio
Studio Art
Mycelial Meshing
Interactive Installation (steel pipes, concrete, lighting, sensors, infrasound system); 4.8 x 5 x 6 m (variable)/16 × 16 × 20 ft (variable); 2018
An interactive installation that overlays human infrastructure with mycorrhizal networks, exploring how interconnected systems—ecological, technological, and social—support, transmit, and react to human presence.
Work commissioned by and in the collection of UAE Unlimited which is an Abu Dhabi-based arts organization
Place is a Sound
Inflatable Installation (ripstop nylon) and Surround Sound System; 13 x 13 x 3 m/43 x 43 x 10 feet; 1 hour 5.1-Channel Soundtrack; 2019
An immersive inflatable installation of interconnected spheres and surround sound, drawing on the concept of the non-place to explore futurity, cultural familiarity, and spatial unease.
Commissioned for From Within, Ministry of Culture, Saudi Arabia (2019); Final design made while in residence at Shangyuan Art Museum.
Aral, Mars
HD Video, Stereo Audio; 10.5 Minutes; 2020 (1 minute segment)
Aral, Mars is a documentary-style video that moves between the Aral Sea (past), Dubai (present), and Mars (future) to examine water’s role in environmental change, development, and imagined futures. Through slow observational footage and text, it traces extraction, scarcity, and technological intervention while asking how future human and more-than-human inhabitation might avoid repeating the injustices of the past.
Group Hug
Installation consisting of inflated sewn secondhand clothing, transducer speakers (on windows), timers,19-minute stereo soundtrack, blower, electronics; installed at The InsideOut, Sacramento, CA, USA; Dimensions Variable; 2020
This installation reflects on future clothing and collective rituals shaped by crisis, from pandemic disruptions to the likelihood of climate-driven behavioral change. What began as speculation about playful group attire became a more unsettling, bodily form, counterbalanced by audio that recalls shared joy and imagines collective change chosen rather than forced.
Secondhand Market, 2178
Site Specific Installation with 17-minute soundtrack, 2019
Set in a used-goods market stall in the year 2178, this exhibition imagines everyday future devices as hacked, secondhand objects shaped by inequality, scarcity, and improvisation. Made from found materials, resin casting, and 3D printing, the works resemble knockoffs, workarounds, and questionable purchases—some partially functional, others oddly useless—reflecting uneven access to technology across time. Created during a residency at the Shangyuan Art Museum, the project frames the future through the familiar logic of the flea market.
