Save the Presidents

Save the Presidents, 2017
Collaboration with Tali Keren
4K video
13 minutes (clip, full video available upon request)
Save the Presidents is a film that focuses on the deterioration of 43 monumental sculptures of former American Presidents, situated in a field in rural Virginia. The busts had belonged to a sculpture park which closed in 2010. A local builder and entrepreneur was hired to destroy the busts after the park’s closing. He decided instead to preserve them, moving them onto his own property and worksite. During their transport and over time, the sculptures have eroded.

The film details the decaying materiality of the figures, such as the cracks in their faces and the discoloration of their white stone. Structured over the course of a day, the work begins with the presidents sitting drenched in morning sunlight as manual laborers arrive to the field for work. As the light wanes and the laborers leave, the presidents are left alone to watch the sunset fade to black. The film explores the promise and instability of political representation and mythology, while raising questions about depictions of democracy, whiteness, and gender.
NASDAQ Tower, Times Square, 2018
Morgan Stanley, Times Square, 2018
American Eagle, Spectacolor 127, Times Square, 2018
Thomas Reuters, Times Square, 2018
American Eagle, Doubletree by Hilton, Spectacolor 127, Spectacolor 128, Times Square, 2018
Save the Presidents took over the screens of Times Square every evening throughout February 2018 as part of Times Square Arts' Midnight Moment. In this context, the work becomes a counter-monument where the commercial architecture of Times Square temporarily transforms into decaying monuments of leaders past.

National Park

National Park, 2017
Collaboration with Tali Keren
Commissioned by the Socrates Sculpture Park in Long Island City, New York
Wood, vinyl, ambient sound, and audio narrative
8 x 18 x 4 feet
National Park is a photographic and audio installation commissioned by the Socrates Sculpture Park in Long Island City, New York. Visitors are invited to treat the work as a kind of stage where one can stand next to an image of past presidents and examine oneself in relation to these decaying yet steadfast symbolic monuments. The large curved structure references the shape of Ancient Greek amphitheaters, alluding to the relationship between theater and politics.

National Park emits a continuous audio loop of ambient sounds recorded in the field in Virginia where the presidential statues reside. The work creates a site of slippage where the sounds of birds, planes, wind, and intermittent gunshots recorded in Virginia become enmeshed within the soundscape of the park.

The work is also accompanied by an audio narrative which is accessible to viewers by listening at www.socratesnationalpark.com. The narrative consists of our conversations with Howard Hankins, the entrepreneur and builder who was moved by his national pride to save the statues from destruction and to relocate them onto his property.

windows on the world

windows on the world, 2016
HD video documentation of photography and audio installation
6 minutes (clip, full video available upon request)
Installed at the Fisher Landau Center for Art in Long Island City, New York
windows on the world is a photography and audio installation that looks at miniature replicas of culturally-significant sites as allegorical. The project considers the ways historical narratives are reduced, recreated, and passed down by focusing on miniature parks in China, Israel, and the United States. I am interested in the ways in which places of historical and socio-political significance, particularly sites of trauma, become miniaturized, commodified, and souvenir.

Each image is paired with a soundtrack accessed through an audio guide. As one listens, the tone, content, and accent of the narrator continually shift. The overarching narrative becomes abstracted, nonlinear, and often contradictory. The viewer is encouraged to synthesize their own narrative, and to question the mechanisms that construct institutional knowledge.


My work is accompanied by a contract which mandates that any collector must sell the artwork after ten years. All accrued value must be reinvested in new work by an emerging female artist. Through this gesture I am infusing my feminist beliefs into the legal fabric and trajectory of my projects. My work aims to challenge economic and gendered hierarchies that permeate the art market rather than solely functioning as a commodity.

I ask that my contract be exhibited with the work in a format or medium that is mutually agreed upon by myself and the collector. It may be shown as a two or three dimensional object, performed live, or distributed in any manner that the collector and I choose together. In this way, the contract enables a collaborative relationship between artist and patron, creatively and politically. By showing the contract, I also want to point to the bureaucratic labor inherent to the exhibition of an artwork that is often hidden from sight.
Artist Contract, 2017
Dimensions and materials vary