Art Gallery

• 22222 Unbind
• 2022

This is a condensed version of a video performance in which I complete a ritual in Central PA in front of my car while it idles. In full, this video is 8 minutes and 4 seconds long, recorded with PhotoBooth on my laptop. 22222 Unbind is designed for the experience of performing in front of an unknown but certain audience. This video is evidence of an act, done out of desperation like a prayer for relief or clarity. Though I act directly in view, I am obscured in a veil of light provided by the headlights of my car contrasted by the darkness of the col de sac. In my ritual, I take 2 stuffed bears and cut open their backs. I write on notebook paper, “I will never unbind/ I have no sorriness for your flashed sadness.” I fold this note inside of the bears and scream into the cavity. I sew their backs together to seal in this note and scream. I give each bear a kiss in red lipstick. I bow to them, scream twice more, throw a stone, and laugh.

• GWF
• 2022
• Found objects, soap
• 5"x 7"

This is an assemblage with a poured-soap center suspending a half-smoked cigarette. This was made during my medical leave after a severe jaw break injury at the start of my junior year in college, as I live with an auto-immune disease that caused me to lose consciousness while walking to find water. During my medical leave, my band was preparing to release our sophomore album, Girl with Fish. This art object embodies my experience of that period of time, having my health, faith, and security tossed into suspension. I intended for this to be used as the cover art for our album, but it did not make the final cut.

• Why Does My Growing Up Feel Like Sin
• 2023
• Deconstructed highchair, wig hair, soap, and ash
• 18"x 22"

This is a wooden highchair I deconstructed and re-formed into a family crest with the ashes of its legs in the center, solidified by poured soap and wax. This was my first artwork that required extensive woodshop knowledge and experience. I became familiar with the scroll saw, band saw, table saw, belt sander and dremel tools during the creation of this work. I also learned new surface processes like flocking and staining. This work was included in the juried student show at the school I was attending at the time, Messiah University. Why Does My Growing Up Feel Like Sin inquires the pains of confronting childhood trauma while still desiring closeness to those who hurt us.

• Real Friend
• 2023
• Graphite drawing
• 8"x8"

This little drawing was commissioned by an underground hardcore band. The technique of this drawing exemplifies my fascination with the Prinzhorn collected works, a book on art and psychosis. Most notably influential from this collection is the work of Adolf Schudel, born in 1869 and diagnosed with hallucinatory insanity. The sensitivity to value and dreamlike perspective are mirrored here, with gentle reductions and cautionary shadows.

• In My Feelings
• 2024

This is a digital collage made to be printed on shirts for my band, feeble little horse. It features a view of New York City and Palm Springs. The angel body is from Alice 2.6.0, and James Charles appears on the laptop screen.

• Wednesday Scene
• 2023

This is a digital drawing made with Procreate. This was done on commission for the band Wednesday. This was printed onto hoodies and sold as merchandise.

• She Had a Still Birth
• 2024
• Soft sculpture
• (approximately)12"x 10"

This puppy doll is in an eternal state of physical vulnerability and loss, never to be played with or relieved from its stance. I made this work to try and process the trauma that my older sister experienced, having walked alongside her three consecutive miscarriages. I wanted to consider more deeply the agony of the female reproductive system, and what parts of miscarriage caused my sister to grieve most. She is heartbroken, but she has no tangible evidence of that which she lost. I used items from an estate sale to make my creature, to reflect on the difference between a life fully lived and remembered by physical evidence and material history, and the unestablished existence of conception and death in the womb.

• Ugly Doll Armor
• 2024
• Wearable soft assemblage (AKA Ugly Doll Armor)

When I am nervous for a performance, I often spend my anxious energy on an outfit or accessory to bring on stage. When I learned my band would be playing at Coachella, I spent my months of anxious preparation sewing the skin of my childhood Ugly Dolls into a top, so they could protect my spirit and confidence. I love wearing this top, and I have performed in it many times since making it. I hand sewed it on this dress form, made to my exact measurements.

Song: Walking, Anne Laplantine

• Sarah Portrait and Thumbnail
• 2024
• Acrylic on wood
• 12"x15" (main portrait)

In painting II, our professor prompted us to paint a craftsman that we know and are inspired by. I chose Sarah Ellington, my dear friend from Brooklyn who went to FIT and is incredibly talented in her craft. This is my first physical portrait painting. I chose to paint on found wood so that, with sanding and enough matte medium, I might be able achieve the delicacy of oil paint while only having acrylic available. The final painting was a winner in the Spring student juried show, and was used as the artwork for the Chatham University Spring 2024 survey poster.

• The Archivist Ritual
• 2024
• (Condensed)

The purpose of this ritual is to disseminate objects we have attached to heartbreak, and reconstruct our experience with them into something unifying and fortified by unconditional friendship.

Steps:

1. Collect objects that act as deposits of heartbreak memory.
2. Sign the Document, agreeing to the terms and purpose of this ritual.
3. Burn objects in unison.
4. Disseminate 3/4 of the ashes of the objects into a moving body of water.
5. Scream into this area in unison, twice.
6. Combine the water from your chosen body to the remaining 1/4 of ash in a kettle or watering can, preferably one that holds heartbreak memory.
7. Take turns pouring this mixture across the threshold of a location that causes at least one party to remember heartbreak. Do this until the kettle or watering can is empty.
8. Create a new artifact with one another, as the standing monument of this ritual.

Song: Brocade by Greg Davis

P.S. The unabridged DVD video version is 13 minutes and 5 second long.

• Asheley and Eve in Frick Park
• 2025
• Acrylic on wood
• 30" x 40"

In this imaginary world, Heaven is an island made of Frick Park. This is a reflection on the accumulation of material goods to establish oneself with capital and the invention of reality through ideology. The two girls are Asheley and Eve, Ssense models who wear high fashion brand items. Paris Hilton’s reflection is crying in the pond, because the paparazzi got to her. The star is God’s pillar of light, leading them out of captivity like the Israelites in Exodus. God’s creatures are there too, the Alice 2.6.0 mouse and puppy in the bushes. Asheley and Eve might be in love, or maybe they are just best friends.

• Video Diary Display Case
• 2024
• Assemblage
• 40"x 40"

Video Diary Display Case situates stills from my 2021 video diaries upon industrially manufactured souvenirs, surrendering my most intimate moments to the cold, impersonal processes of mechanical reproduction. This work is in conversation with Walter Benjamin, and his theory of the loss of aura. By commodifying my own heartbreak in this very literal way, I interrogate my role as a songwriter in a capitalist music industry. I question my production of symbolic capital and the paradoxical returns of creating within an industry that simultaneously diminishes singularity while conferring institutional and cultural value. I drew all around the tops and sides, is if this case were a page in my diary.

Song: Excess Straussess, The Books

• Passed Over, In My Idyll Garden,
• 2023
• A set of three wall-hanging assemblages

Passed Over, In My Idyll Garden is a reflection on three biblical stories: that of Abraham and Isaac, The Passover, and The Garden of Eden in Genesis. This work contemplates the role of the artist as author, biblical substitutionary atonement, and paradoxical affinity. This work is a fabricated reality, where the sacrificial lamb of the Israelites is spared but atonement is still achieved. This is the world of cherry-picked truth and perfect endings, highlighting the ways in which I have deeply struggled with Christianity.

Song: Biospheric Zither, The Books

• Girl Book
• 2024

This is a hand-sewn book constructed in part from handmade paper, with pulp processed in the same rusted bucket used to burn objects and letters in Archivist Ritual, linking acts of making to erasure and residue. The images are sourced from an ASCII archive database through the search term “Girls,” collecting degraded representations that reflect the reduction of women to dots and lines. Each image is paired with captions drawn from statements made about my body, as well as comments contributed by other women in response to the question: “Has anyone ever used words to summarize you in a way that impacted you negatively? If so, what did they say?” Through the pairing of these statements and the 2-dimensionally erotic ASCII women, Girl Book puts the reader in an uncomfortable position, confronting how these disposable images make them feel alongside these permanently impactful comments.

Video special guest: Boy

Song: Multiorgel (Schneider TM mix)

• Bug
• 2025

Bug was made out of harvested shapes and textures from the program Alice 2.6.0. Bug was assembled in Photoshop, printed on aged sticker paper, and scanned. I created Bug as the cover art for my band's single This is Real. I realized its truest form would be wheat-pasted all over walls and poles, like an infestation. I told the people following my private art account at the time that I wanted them to spread my bug to their city. If they were willing, they could be a part of my Bug Mission, in which participants would receive an email with instructions, the file of the bug, and the promise of a reward to those who could show evidence of their handiwork. Forty people succeeded in my mission. I shipped mix CDs or exclusive hand made T shirts to all of them! Click this link if you would like to see their photo evidence and the animated version of Bug.

• Pill for Puppy
• 2025
• Commissioned by the Mattress Factory for their Pink Garden Party
• Deconstructed puppy toy, wax, fabric, batteries
• 10"x 10"

Puppy has three batteries inserted but needs four to function. The fourth is inside its pill bottle. Puppy can’t take its pill without it already functioning inside it, so it’s trapped in an eternal state of dependence and potential energy. Puppy has evolved in this state of stillness and will never be the same.. perhaps new life forms will grow on its surface… like a dormant planet or volcano.

• Living Room
• 2025

This is a 23’ x 9’ wheat-pasted installment in an abandoned paper mill in Polish Hill. I put this up with the help of my friend Harper Segal. We want to experiment with worldbuilding and unconventional marketing for the products we create together. This was installed to be part of our first photoshoot for a shirt that I designed and he screen printed, with myself on the front as an angel in Frick Park island and the words “I found myself in the Asheley Catacombs” printed on the back. We had a team of five people working on this with us, and we plan to do much more with it in the future. We made around 60 of these shirts, and after taking them on tour with me, all of them have sold!

• (Work in progress) My Indulgences
• 2026
• Acrylic on wood
• 30" x 40"

This is my current painting, a room I have imagined in which a dollie girl is at rest, knowing she is not to blame for the brokenness of the world. She is soothed by sustainably marketed products and her favorite organic grocery store. With her wallet, she mending the world. This is a contemplation on the work of Herbert Marcuse and repressive desublimation, and how acts of rebellion or negation get consumed by the status quo when exercised through capitalist modes. "Meae Indulgentiae" is printed in Latin on the banner floating at the foot of her bed, considering these purchases and repressions to be similar to Catholic indulgences of the early church. Dollie is guarded by B-Certified Alice 2.6.0 angels, and watched over by the Lush worker who made her lotion. She has a farm on her lap, reassured that this is where her food comes from.

Video special guest: Asheley

Song: Racou, Anne Laplantine

• Ash Wednesday
• 2022
• 8”x15”

Lithograph artist proof on newsprint