Statement
My work is a performance of identities, and in this current era of my life, there is nothing bigger than (m)other. Through costume, sculpture and photos I contextualize my experience of motherness, my gayness, my carework, our shifting family dynamics and the tensions between them all. The importance of making work with my family and using mothering as the material for my art is to add to the visual histories of families like ours. By collaborating with my child through play, painting, masking, and orchestrating installations I have developed a visual vocabulary that elevates our domestic realities into objects of desire. In costume I can be a fool, be absurd, be transported, be subversive in plain sight, and be resistant to the expectations of my identity as a caretaker. I mine the physical materials and the physiological matter of our lives. It’s an act of rebellion to share the uncomfortable aspects of mothering through humor and play, to intermix elements of kink with my child’s toys, and to make our lives as a gay family visible.
The Objects of Play series is based on how I engage with the “stuff” of toddlerhood and the material of the family— the monotony, the play, the duality of living and making art from home with my wife and child, the creative impulses and inspirations that dance between us, and the toys that surround us. I have fallen back in love with the radical act of play through material investigation with my child.
Objects of Play
The Invisible Móðir series exemplifies the concept of being hidden and completely present in plain sight. I am a myth in the making while chasing the myth of the mother.
For me, the Móðir series references the Victorian images, while also referencing the amorphous entity that is a mother. I feel mother non-conforming, unsure of how I am a part of and embody the role, and yet I twist and turn myself into whatever is needed for my child daily. Many former selves are now in the shadows of this bigger thing that has muscled in—mother. The historical photographs of mothers concealed under heavy textiles holding their children in order to capture a photo have always struck me for their comical and creepy lengths mothers go for their children. After having my child, these images feel like the truest record of the chaos wrapped in a bow.
Invisible Móðir
The invisible or hidden mothers were an invention of necessity. Early pioneering photographers had to wait hours for camera exposures. Even though exposure times had been drastically cut down to about 30 seconds by Victorian times, mothers still had to go to very strange and creepy-looking measures to get their children to sit still for baby photos. Babies had to be held by their mothers who, with the best of intentions, hid themselves in peculiar ways so they could calm their babies and also stay out of their children’s pictures.
-The Hidden Mothers, Linda Fregni Nagler
S/HE/R
The series, S/HE/R, My Norse Fylgja, deals with woven and crocheted wearables from a familial folkloric narrative. As the story goes, we are descendants of vikings, a commanding clan that were equally fragile. I am exploring the concept of the fylgja, a Norse spirit that accompanies a person and connects them to their fate. I imagine my spirit to be a colorfully-loud, dancing fool: powerful and free. There is an exchange- one of dualities of dominance and submission, fragility and power. Yet, the exchange also weighs on the concept of intimacy. Power from a woman. Power from the unknown as a headpiece that masks the face. Power from a whip, from ways of its movement. S/HE/R lives in its contradictions; nonetheless, it is also comfortable in a state of play. I want to dress up in costume and be something else, a different version of myself. I want to be hidden and completely present. I want to be vulnerable and protected. I want to be a jester with authority and invite others to do the same.
Print & Publications
Postpartum Production Podcast, 2025
Suboart Magazine Nr. 48, 2025
10 Upstate Art Weekend Destinations Worth the Trip, 2025
Paradice Palase Artist Interview, 2024
Canvas Rebel, Stories & Insights, 2024
Cover Art, CHOOSE THIS NOW, written by Nicole Haroutunian, 2024
“Grief Is Not Regret: The Art of Pink Hair,” MUTHA Magazine, 2024
Women UNITED Art Prize, 2 023Finalist Interview, 2024
Studio Visit Book V.2, Arts to Hearts Project, 2023
Interview with Ubique Gallery, New York, NY 2023
Sinister Wisdom, 7/21 & 2/22
Recent Shows
2026 27th INTERNATIONAL OPEN, Woman Made Gallery, Chicago, IL
2025 ROOTED RESISTANCE: Art, Care, and Environmental Activism, Old Stone House, Brooklyn, NY
2025 LOST & FOUND, Los Angeles Center for Photography, Los Angeles, CA
2025 ART OF PLAY, Sebastopol Arts Center, Sebastopol, NY
2025 LIFE, STILL, ADS Warehouse, Newburgh, NY
2025 MUSKEG, Mother-in-law’s Gallery, Germantown, NY
2025 MUSCLE/FLEX, Ely Center for Contemporary Art, New Haven Pride Center, CT
2025 CARE, Hera Gallery, Wakefield, RI
2024 MOTHERHOOD MEDIATED, OXH Gallery, Tampa, FL
2024 DYKE ART HAUS, Bureau of General Services-Queer Division, The Center, NY, NY
2024 RECEPTACLE, OXH Gallery, Tampa, FL
2024 MAMA NEEDS A RAISE, Old Stone House & Mother Creatrix Collective, Brooklyn, NY
2024 BOARDERS AT BORDERS: Ely Center for Contemporary Art, SPRING BREAK, Los Angeles, CA
2023 LABOR, Mother Creatrix Collective, Spoke The Hub, Brooklyn, NY
2023 ON MOTHERHOOD, Kyoto Shibori Museum, Kyoto, Japan
2023 OH, MOTHER!, Hera Gallery, Wakefield, RI
2023 TIME/SPACE, Mother Creatrix Collective, Compère Collective, Brooklyn, NY
2023 MASKED, Czong Institute for Contemporary Art, South Korea
2023 PROCREATE PROJECT ARCHIVE, London, England
2020 NEW DIRECTIONS IN FIBER ART, Montclair Art Museum, Montclair, NJ
2019 NETTED SEAS, SMUSH Gallery, Jersey City, NJ
Collective
The Mother Creatrix Collective (MCC) is a group of seven mother artists and curators who collaborate to sustain and uplift one another’s creative practices. Together, they serve not only as a community of support but also as organizers, creating platforms that highlight the voices and experiences of artists navigating the complex intersections of motherhood, caregiving, and artistic practice. Through exhibitions, programming, and collective dialogue, MCC seeks to challenge dominant narratives around caregiving while amplifying the diverse perspectives of mother artists whose work often emerges from—and responds to—the lived realities of parenting and creative labor.
Thank You
To many friends family, and participants, especially Karen, Sal, and Jessica Ward, for your willingness to collaborate and participate in the photoshoots and to Alan Cano, my favorite photographer of masks and weirdos.