2026

Wanting, Haunting at MCA
Live Performance, Installation

Wanting haunting is a collection of memories and personal experiences performed live at the Museum of Contemporary Art Chicago, referencing hauntology, a term that originally coined by Jacques Derrida, and adapted by Mark Fisher being defined as “a philosophical and cultural concept describing how the present is haunted by the past“.
A hauntological view is increasingly relevant in our current climate, as internet culture has drastically increased the amount of noise that we receive on a daily basis. This noise, both from the past and present congeals together, with references begginning to overlap.
808’s, sends through analog preamps, synthesizers, and resampled internet slop create a Gesamkuntswerk of noise aiming to capture a unique emotional space.
A monolith of built speakers generated the sound for the performance.

Proun
Oak, galvanized steel, nylon cord, leather, saw blade

Proun is a dust pan designed as a response to the aesthetic problems of home cleaning tools, or rather, the lack of aesthetics as a whole.

The construction emphasizes material honesty by the use of raw materials and an exposed mechanism.

A filed-down saw blade functions as the leaf spring, holding the rear door in place; a found-object gesture that recalls the readymade nature of Achille Castiglioni.

Architecture of Noise
epoxy resin, polyurethane foam

“Architecture of Noise is a constellation of work and research by Nile Greenberg, his office Abel Nile New York and the UIC School of Architecture. The project addresses architecture’s status within an ever-intensifying present by superimposing mediums, reauthoring history and through architecture containing speculation. The work was presented at the The Edith Farnsworth House designed by Mies van der Rohe, followed by a lecture at the Graham Foundation.

The Farnsworth House is a Fountain, a statue above a reflecting flood. A late debuting air conditioning system for the glass house in the 60s created an excess of condensate discharge offered to a nearby field. A fountain in its place, fed by the overflowing excess water of the glass house.” (Nile Greenberg)

The fountain was constructed with assembled CNC cut sections of polyurethane foam, with a coverage white epoxy resin for use in water.

2025

Ideas in Transit
paper, vellum

Ideas in Transit is a set of daily use memo pads created in my frustration with the notes app.

Inspired by Field Notes, These booklets contain 48 pages of dot grid paper, with a sheet of vellum separating them from the risograph printed cover.

These were intentionally left white with a light opacity print to show the wear and patina over time. Often, they absorb a small blue tint when stored in a denim pocket.

2024

Hardstyle Chair
Fiberglass, autobody filler, polyurethane foam

The Hardstyle chair was a first for me in furniture production. The goal was to create an organic form, contrasted with the rigid, industrial material of fiberglass.

Originally inspired by Frank Gehry’s cardboard chair, Hardstyle began with a similar construction, cutting flat patterns of foam and adhering them horizontally to create a three-dimensional form.

Patches of auto-body filler can be seen within the entire work, highlighting the layers created from the entire process

Consecrate in Frequency
stainless steel, acrylic

"Consecrate the place and day to music and Cecelia...Let no rough winds approach, nor dare invade the hallowed bounds, nor rudely shake the tuneful air..." - Joseph Addison

Consecrate in Frequency is an installed work on display at my old high school, created as a gift for my choir teacher who had a profound influence on me.

An audio recording of the performance was converted digitally into frequency, and a color half-tone of the image was laser cut on a sheet of acrylic.

a steel box was then assembled to house the interior lighting that is diffused by the frequencies.

2023

Soft Cast
plaster, spray paint

Soft Cast is a material exploration that began with an interest in juxtaposing form and material.

The form was created through extruding plaster into balloons and arranging them in tight forms before hardening.