My work explores the construction of gender and cultural identity, questioning heteronormative ideologies within the personal and social space. Often collaborative, my practice archives performance and personal narrative--remembered and projected--to portray queer collectivities where love and loss exceed singularity. My practice stems from photography, considering the medium's representational limitations and relationship to the archive, memory, and death. I embed my family's narrative, experiences of losing my mother, revisiting landscapes of my conception, childhood, sexuality, my nonconforming gender identity, to collide personal and political borders. Through film, video, and installation, I emphasize voice, movement, and experiential pathos located at the intersection of analogue and digital technologies, where past and present overlap.

As a queer identified artist collectivity and cross-generational exchange are integral to my work. For instance Swarm I and Swarm II (2014) document actions performed by my students in Death Valley’s remote Eureka Dunes and Racetrack Playa, where sand sings and rocks move. The happenings question the canon of landscape photography by infusing it with voice and movement through durational performance, sound, and a collective-focused choreography. Death Valley Series: Ejaculation (2011) also complicates Western masculinist Land Art (and its Individual-Author) to demonstrate the futility and impossibility of claiming territory as one’s own.
Epitaph for Family (2015), which opened two days after the Supreme Court’s ruling to legalize same-sex marriage, addresses notions of family through various queer-identified perspectives. It questions the difference between, and sameness within, queer and heteronormative family structures, and how
these constructs define the individual and community. It explores love and intimacy by drawing connections between the metaphor of the unattainable horizon line (queerness) with the dinner table (family).