In Air Math, I reorganize the urban environment to provide alternative viewing experiences that complicate rational space. By combining influences from data visualization, architectural drawing, non-Euclidian geometry, and simplified computer graphics the works create hybrid viewing situations that utilize a variety of perspectival tropes. The works question the reliability of vision through the presentation of illusionistic wall drawings, indeterminate landscapes, modular forms, and compositions that extend the parameters of “flatness.”

I am interested in using the language of architectural drafting and info-graphics to explore space, providing my images agency despite my lack of training in architectural design. Instead of providing clear solutions, my work presents possibilities and potentialities that arise out of my unconventional approaches to spatial organization. Masterplan lies in-between defined states of development and completion, and hence can be seen as a sketch similar to a blueprint but more like that of a flowchart. The wall drawings play with the relationship between 3D and 2D, often visually extending space past the wall and negating the wall as a structural boundary.

The Bucky Blanket is based on Buckminster Fuller's Dymaxion World Map, but also a comment on the prolific application of his geodesic structures many people have actualized in contemporary architecture. This sculpture serves as a sketching tool for landscape visualization: the "blanket" can theoretically be laid over any organic mass, hence simplifying and transforming the mass into a planar landscape.

Air Math can be explained as the use of science and mathematic pragmatism to create indeterminate spaces that expand the definitions of boundary, containment, permanence, and completion.

@ PSU's Autzen Gallery|Broadway and Harrison|2nd floor Neuberger Hall|Mon-Sat 10-5| Closes April 23

Absorption Field @ Tilt Export: Approximate

The exhibition space at Gallery Homeland is a transitional area that can only be seen in its entirety through movement. The anamorphic wall drawings exhibited react to movement throughout the space by responding to the viewer’s point of view. There are a number of precise viewpoints in the gallery that activate an extended experience of the existing structural bounds. When viewed from these points, the forms suggest a dematerialization of the building providing an alternate visual landscape beyond the gallery walls.

The cavernous building interior is playfully expanded to create an illusion of a vast uninhabited industrial landscape in various stages of construction. They depict situations that echo the processes of construction and demolition but are unclear as to which one is taking place. This ambiguity is central to my work: in place of defined experiences I wish to create hybrid-viewing situations that extend possibilities of spatial experience and understanding.