Gallery Cleaning, Museum of Fine Arts Boston, 2026.
About
I am an interdisciplinary artist and museum collections professional based in Massachusetts. My practice moves between photography, writing, collecting, and archival processes. Working professionally with objects deemed culturally significant has shaped my artistic interest in how value is assigned, how histories are constructed, and what we choose to keep.
My practice brings together photographs from work and travel, workplace ephemera, personal records, objects, and fragments of everyday life. Through these materials, I explore memory, labor, place, and the boundaries between personal and institutional archives.
Rather than treating documentation as separate from art-making, I approach collecting, organizing, and preserving as creative acts—ways of tracing patterns that emerge through repetitive looking and treating the ordinary as worthy of care. My work also considers organizing as a social practice shaped by workplace relationships, shared knowledge, and collective labor.
Artist Statement
My work begins with acts of noticing: an object, a photograph, a note, a sign, a changing place, and the communities around them. I observe and collect these fragments impulsively, often before I understand why I’m drawn to them. Over time, the accumulation becomes a way for me to identify relationships between things that initially seemed unrelated.
Working in museum collections has made me particularly conscious of value, collections care, and the labor behind that. Museums make deliberate decisions about what deserves to be kept. My own collecting is less systematic, but it comes from a shared desire to handle with care. I am interested in the space between these two worlds: the institutional archive and the personal one.
Gallery Cleaning, Museum of Fine Arts Boston, 2026.
Photography is one way I navigate these curiosities. I use it both intentionally and casually, moving between film, digital cameras, and my phone. My practice also includes writing, found material, saved ephemera, and acts of organizing—both materially and socially. I am interested not only in how objects are arranged and categorized, but also in how people build workplace relationships, share knowledge, coordinate labor, and organize collectively.
Often, an ordinary object becomes a point of entry into a much larger history of place, labor, movement, and memory. By collecting and arranging evidence of ordinary life, I seek to highlight what happens when we deem remnants of our everyday as worthy of care.
