It’s the precarious nature of things, of decision making, the hilariously fragile act of categorizing,  how everything is an accumulation of its past, of its potential, failed potential, of its current state, what surrounded it, and what it may become in the future. This work's existence (in conjunction with my own) is a rejection of the binary. Everything extends past itself, extends back through itself, and embodies all that did and continues to surround it. 

In the past I’ve talked a lot about how plants are a potent indicator of time and place. What plants are growing where, at what time, and in what quantity reveals clues to a complicated yet joyous history of what has occurred on a landscape. 

For these pieces I wanted to explore indicators of my own time and place, the complicated yet joyous ‘landscape’ of what it means for me to be a Queer, they/she, mixed race Lakota artist. This ‘landscape’ of self embodies anti-singular ways of thinking that are ever present in nature, also extending to my collaborative relationships with the materials and skill sets utilized in these pieces.

“Indeterminable Trajectory but Most Assuredly Staked”

Locally sourced Osage and Spalted Oak, Platycerium ridleyi grown from spore, Burnt Oak Dowels from Lowes, Fishing Line from a Gas Station

Dimensions variable: Approx: 18’ x 11’ x 5’

“Porcupine Osage Tables” (one and two)

Locally Sourced Osage, Slab, Burnt Oak Dowels from Lowes 

One: 36” x 6” x 36”

Two: 24” x 6” x 36”

Porcupine Osage Boxes (one, two, and three)

Locally Sourced Osage Wood Chunk, Burnt Oak Dowels from Lowes

One, Two, and Three: ~14” x 5” x 4”