Graduate Application Portfolio

The Remuseum


Collaboration with the Floating Lab Collective

The ReMuseum is a participatory, mobile experiment that investigates museum processes such as collecting, displaying, valuing and commodifying objects. Through a series of collaborative events, members of the ReMuseum re-frame dominant notions of the Museum and create a platform for the amplification of new, distinctive ideas of value.

The ReMuseum collection is comprised of a series of personalized objects chosen by individuals who exist outside the dominant museum structure.  In early 2012, ReMuseum’s mobile curator, Raquel de Anda, engaged in discussions with a variety of DC community members about objects of personal significance, using the questions “What do you think belongs in a Museum?” and “What makes this object valuable?” as points of departure.  Once selected, each object was replicated and the stories edited into video and sound installations that depict unique and varied expressions of DC’s cultural landscape.   This collection was displayed at both Museums and outlying DC neighborhoods transforming treasured everyday objects into monuments of value while presenting intimate, touching and amusing depictions of our shared history.


Installation at the Corcoran Museum, Washington DC

Installation at the Corcoran Museum, Washington DC
Project documentation.

Project documentation

A Full Backseat


This video piece uses home video footage from tourist vacationing in St. Croix to tell a story of consumption and disregard for the island and its inhabitants.



This project prints a photo of the viewer using a camera discreetly mounted in the room. The photo is captured when the viewer triggers a motion sensor. A printer mounted in the ceiling prints the photo 15 times.

CCP: Main Gallery, George Mason University


A second install created from the installation study shown above.



The Collective White House


Collaboration with the Floating Lab Collective

Medellin, Colombia – 9.1.2011

(n.) A collectively made structure depicting the White House fabricated from used bed sheets donated from local hotels. Bed sheets represent the transitory, highly mobile nature of modern life and contain traces of human existence, as did the Shroud of Turin.  Throughout the world, the White House is an icon of United States power and the aspirations of human progress. It is a primary media image symbolizing decisions made in Washington that have a profound impact on people all over the planet but who play little or no role in the decision-making process.

To address this exclusion, Collective White House is an arts and social change project through which people can re-imagine their relationship to the power structure represented by the White House. By turning an historic symbol of institutional authority into a collective social space that encourages cultural and political dialogue, participation, empowerment and reciprocity.

Collective White House is installed in public space to function as a peoples’ embassy– a collective platform and gathering place for discussion and participation on the role and influence of US politics.

Collective White House is an open source institution that re-imagines the balance of power, reconstructing a transnational symbol of dominance through active community imagination and participation. It gives power to people to redefine the role of the United States in their daily existence. These acts of social balance transform “Terminos de intercambio”, or terms of exchange into manifestations of social equality. The project will create networks in communities that contribute to a generative dialogue. Because the nature of dialogue is exploratory, its meaning and methods continuously unfold. Generative Dialogue attempts to transform the current system of one center and many peripheries into a system of several centers and no periphery. Collective thought becomes a process of identifying crisis and en-gages in a process of developing solutions. This process is adopted from David Bohm’s On Dialogue.




Scream at the Economy


Collaboration with the Floating Lab Collective

Scream at the Economy is a participatory project which invites people to call a phone number and scream at the economy. We utilize the scream as a primary accessible interface but also as an instinctive survival expression, as a warning of danger, and through considering the historical context and implications of the “Scream” in art history (such as in Munch’s painting) that have become a kind of shorthand of modern alienation and despair, icons of anxiety and hopelessness. The archived screams are recorded as mp3 files. On the web they will be used to create a musical composition by various international composers, that will be available to download for free beginning June 25, 2009 at As a second action the musical composition will be played in the “screamer” a portable speaker system, that will perform in public spaces in front of relevant financial institutions.

Project documentation, Times Square, NYCPerformance documentation, Times Square, NYC

Performance documentation, NYSE, NYC

Times Square, NYC

Performance documentation, Times Square, NYC

Encounters With The U.S. Authority Figure


The images of Encounters With The U.S. Authority Figure are taken from a walk around the 2 mile fence that cordoned off the DC Convention Center for the World Nuclear Summit held in April, 2010. My original intent was to investigate how the fence restructured the urban landscape and the consequence of fracturing the community. However, I was apprehended and detained towards the end of my walk. The federal agents asked me a series of tedious questions pertaining to the mundane events of my life, i.e., What classes do you take at George Mason? How do you get to school?

I used the questions that the police asked for the text of Encounters With The U.S. Authority FigureI read the questions from memory hoping to reveal the processes of detention and authority.





The Organinzer is the fragmented narrative of a border crossing.  The footage was taken on Galveston Island & Bolivar Peninsula shortly after Hurricane Ike came ashore along the Texas Gulf coast. I use The Organizer as a fable/metaphor for the impossibility of the border, memory and loss.

In 2009, Hurricane Ike passed directly over Galveston Texas and the adjacent Bolivar Pennisula. I spent most of my childhood summers traveling to Galveston & lounging at the one room family beach house in Bolivar, I have always romanticized the region. The notion of Bolivar as a naive place can be seen directly in The Organizer. I attempted to correspond the destruction of my childhood escape to the fate of the Organizer.





This piece re-contextualizes the cigar; a classic object of masculinity. The cigar is imaged in forms that subvert our traditional connection of cigar to the male. The cigar is cut with a rusty steak knife [2a],  smoked in a dirty basement entry way, thrust between two humps of a brick [1b]





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