Artist Registry
The White Columns Curated Artist Registry is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
To apply to the Registry, click here. Join our mailing list here to receive our open call announcement and other programming updates. For any further questions about the Registry, please contact us at registry@whitecolumns.org.
STATEMENT OF WORK
I am an artist, poet, and new mother. My work is playfully generated from hypnagogic states, where object, action, sensation, and language move freely. Guided by a dream logic, my practice spans drawing, sculpture, text, HTML webpages, and textiles. I value the peripheral—that which resists conventional legibility—while registering personal and cultural realities.
Although materials in my work are often specific, my approach is not precious. Materials function as unhinged collaborators rather than inert matter. I am not interested in performing skill or mastery over them; instead, I am receptive to processes that are unpredictable, difficult to contain, even ecstatic! Sand mixed into clay, eggshells combined with egg cartons and other incidental detritus may comprise my work.
I’ve shared my work publicly every year since 2009 through solo and group exhibitions, readings, artist talks, and publications, often within esteemed nonprofit art spaces.
Over a decade ago, I developed Charged Objects, a practice that frames objects as resistant to fixed parameters and narratives. This work culminated in a book (Publication Studio, 2012) combining ontological and art historical research with personal/poetic practices for enduring objectification and resisting reductive classification. I presented numerous exhibitions through this framework and later expanded it to include the pervasive influence of tech on personhood, relationality, and beyond.
Meredith Whittaker, Researcher, has stated, “Her work defies a contemporary epistemology that sees everything as flat, governable data. Her voice, body, and work reject this bloodless vision of the world, not merely by negation or affirmation, but by observing the constitutive intersubjectivity that animates life and confounds categorical systems.”
Sophie Cavoulacos, Associate Curator at MoMA, stated my work “asserts personhood over institutional structures of the art world. This work urgently gestures to more compassionate, speculative understandings of body and being.”