︎

Materiality of the Spirit, Campbell Hall Studio, Studio City, California (2024). This projected installation examines the harmful role of adopted colonial policies, such as Blood Quantum, within Indigenous identity, forced migration and reproductive autonomy. Sourced materials in jars adorn the cart to convey the fluid power of traditional knowledge within narratives of self-determination. Materiality of the Spirit, Campbell Hall Studio, Studio City, California (2024). This projected installation examines the harmful role of adopted colonial policies, such as Blood Quantum, within Indigenous identity, forced migration and reproductive autonomy. Assimilation, Campbell Hall Studio, Studio City, California (2024). Through a conceptual lens, the arrangement of darts and archival photographs on a dart board explores the internal landscape of forced assimilation within the American dream. Minjimendan (Remember), Photoville Festival, New York City, New York (2024). This temporary installation at Dumbo Park featured a series titled MINJIMENDAN/REMEMBER honors the legacy of my great grandfather John B. McGillis through an interpretation of historical photographs, letters, and other material objects that he left behind. These photographs examine the complexities that he faced as an Anishinaabe man navigating early 20th-century assimilation policies, and his devotion to expanding access for his people through acts of self-determination and joy. Fragments of Home, 5221 Monte Vista St, Los Angeles, California (2024). This site specific work reimagined a memory from my childhood home, and examined the contrast of energies within an urban family structure. Time, 5221 Monte Vista St, Los Angeles, California (2024). This site-specific work consists of sourced industrial items from my birthplace of Harbor City, CA to examine the role of time through traditional Anishinaabe pictographs and cyclical paradigms.