Museum and Gallery
Projects
In tandem with the start of my design practice in 2000, I have consistently created and exhibited large-scale, text-based installations in museums and galleries across the nation and internationally. The variations of my contemporary art practice and work have been featured in prominent publications and showcased at prestigious venues, including the Indianapolis Museum of Art, Blue Star Contemporary Art Center, Rife Gallery, The Wexner Center for the Arts, Wherle Art Museum, Artillary Gallery, Elizabeth Gallery in London, The Urban Arts Space, Art Basel Miami, Sean Christopher Gallery in Ohio, Agora Gallery in New York, Urban Institute of Contemporary Arts, Kuhn Fine Arts Center, Modern Art Oxford, The Oxford Playhouse, Jacksson Contemporary Art, Williams Art Galleries, the Union University Art Museum, and the Thrift Gallery at Anderson University. Below are only a few examples of the many projects completed throughout the years.
Between Here, There, and
Everywhere
Union University Art Museum 2016
Jackson, Tennessee
"Between Here and There and Everywhere" is a text-based, interactive, and conceptual exhibition that draws upon key artworks and styles from past and present bodies of work. The exhibition incorporates diverse media—including photographic images, optical illusions, and sculptural elements—such as animated letters that unscramble over the course of the show and a stool that invites visitors to remain an observer, while also becoming part of the spectacle. Through the use of text-as-image, viewers are encouraged to confront spatial vulnerability and engage with profound questions about decision-making and humanity’s ongoing struggle for spiritual agency. This body of work challenges passivity and rigorously examines how, where, and why we choose to allow divine intervention in our lives. The Exhibition was dedicated and influenced by the work and life of Crispin Webb, 1977 – 2006 and contemporary artist Michael Mercil.
Archival Inkjet Prints double hit with black ink and hand made grommets, Silver Gelatin Photographs, Hand Drawing with Silver Leaf, Clipboards, Carbon Paper, Pencils, Metal Stool
Dimensions Vary, Photographs 20 × 48 in (Diptych) Framed
Studio Assistant
Graham McCallahan
Not Until I Get There:
Tous ces hétérotopies
Williams Galleries 2014
Marion, Indiana
Can space exist within space—can utopia and reality collide? For some, the act of returning home is effortless; for others, the memory of origin is fraught with longing and unease. "Not Until I Get There: Tous Ces Hétérotopies" is a large-scale installation conceived to immerse the viewer in the spatial and psychological thresholds between east and west, self and other, familiarity and distance. Drawing direct inspiration from Michel Foucault’s writings on heterotopia and the liminal qualities of "Other Spaces," this work reimagines the midwestern landscape as both a literal and metaphorical site of transformation. The installation’s tire swing and topographic forms are used as sculptural devices and tension rods, manifesting the complex push and pull of returning to one’s origins—where anticipation meets apprehension and the familiar becomes strange. Environmental signage and the abundance of over four tons of dried corn activate the gallery space, inviting visitors to linger within a sensory field that is simultaneously rooted and displaced. This work interrogates the boundaries of home, memory, and belonging, urging the viewer to contemplate their own navigation through the heterotopias of contemporary existence.
Archival Inkjet Prints double hit with black ink and hand made grommets, Pizo Film Exposed Images, Hand Vinyl Lettering, Wood Fence, Tire, Rope, Paint, and Dry Shucked Indiana Corn
Dimensions Vary, Signs 44 × 44 in, Pizo Images, 12 × 12 in Framed
Studio Assistants
Joel Cash
Devin Goebel
Trenton McBeth
Learn More Below
Of Other Spaces: Utopias and Heterotopias by Michel Foucalt
Symbols, Stories, and Hopeful
Conclusions
Kuhn Fine Arts Center 2012
Marion, Ohio
"Symbols, Stories, and Hopeful Conclusions" is envisioned as a monumental, immersive installation that transforms the gallery into a site of collective reflection on loss, resilience, and renewal. Drawing from the deeply personal narrative of a dissolved decade-long marriage, the work transcends autobiography to address universal themes of separation, vulnerability, and the human capacity for healing. At the heart of the installation, a sweeping mural silhouette of an elder figure embodies generational wisdom and spiritual longing, while the phrase "AM I FREE"—articulated in shifting, kinetic text—serves as a recurring visual motif. Over the course of the exhibition, this question evolves, subtly becoming "I AM FREE," suggesting the arc from uncertainty to self-affirmation. The installation incorporates symbolic objects, projected texts, and photographic interventions, inviting viewers to navigate a landscape of memory, faith, and transformation. Throughout, aphoristic truths—such as "It wouldn’t be this way if things were different"—are rendered on translucent screens, evoking the persistent echoes of introspection and the possibility of new beginnings. The work’s layered approach offers a space for communal contemplation, positioning personal narrative as a catalyst for broader dialogue on hope and the reclamation of agency.
Vinyl Lettering, Latex Wall Paint, Pizo Exposed Images, Archival Ink Jet Prints
Dimensions Vary, Pizo Images 5 × 7 in – 16 × 20 in Framed, Archival Ink Jet Prints 16 × 20 in Framed
Studio Assistants
Ryan Chitwood
Josh Watson
X Marks the Spot
Sean Christopher Gallery 2010
Columbus, Ohio
Reimagined through the lens of contemporary art, "X marks the spot" becomes a powerful metaphor for the critical intersections that define human experience—life and death, arrival and departure, the known and the unknown. This large-scale, multi-room installation positions the X as both a physical and conceptual axis, drawing upon its varied historical resonances: from pirate lore and Prohibition-era symbolism to the anatomical realities of pain and healing. Central to the installation are two figures—in perpetual dialogue—embodying the tensions between youth and age, presence and absence, suffocation and breath. Immersive two-channel video portraits shift between mirrored introspection and direct confrontation, while a neon-lit sign forms and interactive sculptural intervention by inviting viewers to navigate their own crossroads within the space. The exhibition’s layered environments disrupt conventional boundaries, fostering a dynamic field where personal and collective narratives intertwine. By inviting the audience into intimate, interstitial conversations, this work challenges us to reconsider the meaning of transition, resilience, and the search for freedom within the broader context of a life fully examined.
In Collaboration with: John McCutcheon
Archival Blue Print, Shaped Mylar, Two Channel Video, Neon, Wooden Chair, and Latex Wall Paint
Dimensions Vary, Print 42 × 50 in (106.68 × 127 cm) Framed, Neon 13 × 31 in
Studio Assistants
Ryan Chitwood
Josh Watson
Settling Down, The New
Type-of-Graphic
Urban Arts Center 2008
Columbus, Ohio
Inspired by contemporary marketing strategies, I developed a variety of “hook lines” that combined humor with distinct gender targeting. Compiling and analyzing these examples, I reimagined and reconstructed the language into the format of traditional environmental signage. As the concept evolved into a large body, I recognized its capacity to generate visual rhythms through shape, form, and the interplay of positive and negative space. This approach prompted me to present and treat the typographic works as photographs. Amid economic uncertainty and limited opportunities, the notion of ‘home’ has taken on a profound significance. My true desire lies in achieving security—both financial and emotional—nurturing a family, and experiencing the reciprocity of love. For some, home is a physical structure; for others, myself included, it transcends location and is realized in shared experiences and connection. It is the simple moments—a drive past dream homes, grocery shopping for dinner, and long conversations with those we love—that have quietly created a sense of home all along.
Archival Inkjet Prints, Vinyl Lettering, Plastic Balls, Metal Cage, Offset Lithographic Prints, Billboards,
Dimensions Vary, Inkjet Prints 30 × 40 in (76.2 x 101.6 cm) Framed, Litho Postcards 5 × 7 in
