A zombie party party card game, sitting in the cozy space between Matt Groening & a Goya-fulled nightmare. Chaos, Robotic Bees, mythical creatures, & so, so many goats. Everyone plays until the end, even Felicia.
Click through to view more details. of the project
This project was massive undertaking — including building the visual brand identity, logo design, design & formatting for all packaging across two different print versions, promotional designs for our web presence, nearly 300 unique drawings, & more.
Learn more about Zombie Circus Goats on the website, Facebook, or Instagram. Kickstarted May 2020!!
2019 - 2020.
Album artwork for Bandcamp, record sleeve & insert, and tape j-card created for Senza’s new album Even a Worm Will Turn. These folks really make killer music, give em a listen. 2019.
A brochure created for the Rural Organizing Project, detailing how to help the organization via planned giving. ROP is a wonderful group, & they do great work in our local community. Be sure to check them out!
2021.
Bandcamp artwork for the upcoming split EP from To Be Gentle and Indisposed. 2020.
A small illustration of some edible mushrooms found in the Pacific Northwest. 2020.
Just a fun illustration to celebrate the start of Autumn. 2020.
Shirt design for the band Senza, in conjunction with their album Even A Work Will Turn. 2019.
Invitation and insert for Robyn and Bill’s wedding. Cover illustration based off the site of their proposal. Aesthetics are themed to fit with their gorgeous, low-key camping wedding. Address details have been blurred/replaced with Lorem Ipsum to respect the privacy of the couple. 2019.
Shirt design created for Deer Haven Construction, based out of Eugene, OR. They do awesome work, check them out!
2019.
Album artwork for band Synaptic’s debut full length Destroy, Then Grow. 2018.
Additional formatting of artwork for tape jackets, 2019.
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Various flyers for Drink & Draw digital and print promotion, plus a couple extra silly images for one-off events. Drink & Draw was hosted every first & third Thursday of the month at Old Nick’s Pub by the lovely Ali and myself. 2018-2019.
Those hands make beautiful things. Ink & digital manipulation. 2018.
An illustration created for the band Broken Dead for use as a flyer for their benefit tour in support of No More Deaths. 2019.
Photography taken of and in Spacebuds The Dispensary for social media and publishing purposes. 2017 & 2018. Big thanks to Rachel and Nick for your awesome cosplay!
A small sampling of commercial editing work. Finished photos are shown first, with unedited photos show second. 2018-2019.
Poster for ICED's mini summer tour. 2017. Open image in new tab for high resolution.
I find myself repeatedly drawn to the strange notion in our culture that nature is not the place we live, but a place we go to visit. As humans we have a compulsion to separate ourselves from the greater natural world, and this has ramifications on our social and mental wellbeing. As we become more immersed in technology and more removed from nature some things are lost and others gained.
I photograph the human figure, sometimes in the landscape and sometimes in the studio, cropping the photos to abstract the body. I then use photoshop to assemble these photos into still composite images or moving GIFs, drawing on top of the body or using images of actual plants I have scanned to create the visual illusion of the plants growing out of the bodies or being a part of the bodies themselves. The GIFs I make into short loops, to show the motion of the subject breathing or the plants growing. When finished, I find these images aesthetically pleasing, but others often describe them as unsettling. This is what I want, to dwell in a place that’s at least mildly uncomfortable, a crux point between the lovely and the unsettling. Because so much of my work directly deals with the human, the figure, the bodily, it’s difficult for a viewer to not approach the work in a way that is fairly loaded. I also use a computer to make all of these images, therefore furthering in my own life the separation from nature which I am trying to rectify through my work. Because my means of approaching this idea is in itself contradictory, it makes sense to me that the resulting images would be uncomfortable and ambiguous. This ambiguity is critical -- I think all of these works have at least one distinctly positive and one distinctly negative way they can be interpreted. Half of my interest is seeing these elements exist in the same space, and watching the reactions of viewers to this, ultimately reflective of how they cope with their own inner dualities and contradictions.
35mm. 2015-2016.
Various selected works created for SpaceBuds the Dispensary. 2017-2018.
A selection of the parody memes and ads made for the Spacebuds The Dispensary Instagram page. 2017-2018.
35mm. 2017.
From top to bottom; Ennui, Fatigue, Fog, Forget, Isolate, No Thanks, Withdraw
Depression is something I’ve struggled with pretty heavily on and off since adolescence. After coming out of a pretty bad depressive episode in early 2014, I used this series to explore the nuances of that experience, with each image representing a different depression symptom that feels especially pertinent to me. I attempt to translate each symptom into something somewhat surreal and abstracted, both to mirror the strangeness of these feelings when one is struggling with depression, and to focus on the larger experience of the feelings themselves rather than simply my own personal experience.
These images were made with my flatbed scanner and fish-tank-related witchcraft.
Illustration. 2017. Open image in new tab for high resolution.
From top to bottom: You’re Gone, Every Day is Sunday, Things Left, Last Night
A series I did last winter focusing around memory loss, the things that make us forget, the potential significance behind the things we forget, and asking questions as to why we remember what we do.
The composited-in photographs were all also taken by me. 2014.
Illustration. 2017.
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T-shirt created for Arch Academy trip to Molokai. 2016.
35mm. 2016.
T-shirt made for Arch Academy's global trip to Spain and Plum Village monestary in the South of France. 2016.
Installation shots showing 6’ hand-cut prints of the Chimeras series in the White Stag Commons, and a selection of the Perennial Germination GIFs in White Box Gallery. Both in Portland, OR. 2015.
I find myself repeatedly drawn to the strange notion in our culture that nature is not the place we live, but a place we go to visit. As humans we have a compulsion to separate ourselves from the greater natural world, and this has ramifications on our social and mental wellbeing. As we become more immersed in technology and more removed from nature some things are lost and others gained.
I photograph the human figure, sometimes in the landscape and sometimes in the studio, cropping the photos to abstract the body. I then use photoshop to assemble these photos into still composite images or moving GIFs, drawing on top of the body or using images of actual plants I have scanned to create the visual illusion of the plants growing out of the bodies or being a part of the bodies themselves. The GIFs I make into short loops, to show the motion of the subject breathing or the plants growing. When finished, I find these images aesthetically pleasing, but others often describe them as unsettling. This is what I want, to dwell in a place that’s at least mildly uncomfortable, a crux point between the lovely and the unsettling. Because so much of my work directly deals with the human, the figure, the bodily, it’s difficult for a viewer to not approach the work in a way that is fairly loaded. I also use a computer to make all of these images, therefore furthering in my own life the separation from nature which I am trying to rectify through my work. Because my means of approaching this idea is in itself contradictory, it makes sense to me that the resulting images would be uncomfortable and ambiguous. This ambiguity is critical -- I think all of these works have at least one distinctly positive and one distinctly negative way they can be interpreted. Half of my interest is seeing these elements exist in the same space, and watching the reactions of viewers to this, ultimately reflective of how they cope with their own inner dualities and contradictions.
Bernie Sanders flash created for Feel the Bern: A Bernie Sanders Art Show. 2016.
2015. Title page for a zine called Shift
2015. A comic created for a zine called Shift.
I find myself repeatedly drawn to the strange notion in our culture that nature is not the place we live, but a place we go to visit. As humans we have a compulsion to separate ourselves from the greater natural world, and this has ramifications on our social and mental wellbeing. As we become more immersed in technology and more removed from nature some things are lost and others gained.
I photograph the human figure, sometimes in the landscape and sometimes in the studio, cropping the photos to abstract the body. I then use photoshop to assemble these photos into still composite images or moving GIFs, drawing on top of the body or using images of actual plants I have scanned to create the visual illusion of the plants growing out of the bodies or being a part of the bodies themselves. The GIFs I make into short loops, to show the motion of the subject breathing or the plants growing. When finished, I find these images aesthetically pleasing, but others often describe them as unsettling. This is what I want, to dwell in a place that’s at least mildly uncomfortable, a crux point between the lovely and the unsettling. Because so much of my work directly deals with the human, the figure, the bodily, it’s difficult for a viewer to not approach the work in a way that is fairly loaded. I also use a computer to make all of these images, therefore furthering in my own life the separation from nature which I am trying to rectify through my work. Because my means of approaching this idea is in itself contradictory, it makes sense to me that the resulting images would be uncomfortable and ambiguous. This ambiguity is critical -- I think all of these works have at least one distinctly positive and one distinctly negative way they can be interpreted. Half of my interest is seeing these elements exist in the same space, and watching the reactions of viewers to this, ultimately reflective of how they cope with their own inner dualities and contradictions.
T-shirt created for (now defunct) Portland zine, The Grind. 2015.
2014.
A sculpture created in conjunction with my BFA thesis.
I find myself repeatedly drawn to the strange notion in our culture that nature is not the place we live, but a place we go to visit. As humans we have a compulsion to separate ourselves from the greater natural world, and this has ramifications on our social and mental wellbeing. As we become more immersed in technology and more removed from nature some things are lost and others gained.
I photograph the human figure, sometimes in the landscape and sometimes in the studio, cropping the photos to abstract the body. I then use photoshop to assemble these photos into still composite images or moving GIFs, drawing on top of the body or using images of actual plants I have scanned to create the visual illusion of the plants growing out of the bodies or being a part of the bodies themselves. The GIFs I make into short loops, to show the motion of the subject breathing or the plants growing. When finished, I find these images aesthetically pleasing, but others often describe them as unsettling. This is what I want, to dwell in a place that’s at least mildly uncomfortable, a crux point between the lovely and the unsettling. Because so much of my work directly deals with the human, the figure, the bodily, it’s difficult for a viewer to not approach the work in a way that is fairly loaded. I also use a computer to make all of these images, therefore furthering in my own life the separation from nature which I am trying to rectify through my work. Because my means of approaching this idea is in itself contradictory, it makes sense to me that the resulting images would be uncomfortable and ambiguous. This ambiguity is critical -- I think all of these works have at least one distinctly positive and one distinctly negative way they can be interpreted. Half of my interest is seeing these elements exist in the same space, and watching the reactions of viewers to this, ultimately reflective of how they cope with their own inner dualities and contradictions.
From top to bottom: Backwoods, Day Use Only, No Flight Zone
The series Strange Terrain came at a point in my life where I was experiencing a lot of new freedom, as well as a lot of uncertainty. My body is superimposed with topographic maps not from a place I have actually been, but a place that is very nearby. This is expressing how sometimes something can feel very familiar but also very new. A new sense of bodily, personal, and mental autonomy abounded but I also couldn’t shake the feeling that this wasn’t something new, rather something I had lost connection with and was then rediscovering about myself.
Aesthetically, this piece acts as an exploration of the similarities between topographic curves and the curves of the human body, examining the mirror one sometimes sees between the human figure and other aspects of nature.
Cover artwork for lathe-cut split by bands Southtowne Lanes and Whack Sabbath. 2013.
From top to bottom: Pinched Nerve, Bitten Nails, Pounding Head. All made in 2014.
This is a series exploring the relationships people hold with their bodies, and the effects of chronic conditions and ailments on these relationships. Our relationship with our bodies is arguably the most familiar we will ever have. However, ailments both mental and physical can cause a strong sense of disassociation and disconnection from our bodies. For each piece, I interviewed a family member or friend about a condition the struggle with (A pinched sciatic nerve, severe anxiety, and migraines respectively). I used their accounts to fill the image of her back with both the causes and feelings caused by the chronic pain/condition. The paint was applied using adhesive vinyl stencils.
An aesthetic exploration of the forms left behind by decay, while also contrasting those forms with things less natural but similarly permanent. 2014.
Adhesive vinyl stickers I made for digital drawing class in 2013. The illustrator drawings, the stickers, and their final placement.
Poster and matching shirt design for the 2014 Take Back the Night at the University of Oregon. Take Back the Night is an international event designed to raise awareness about sexual assault and give survivors a safe space to share their stories and heal.
Various other designs and flyers created for the University of Oregon Women's Center. 2013 & 2014.
2014. Drawn in Illustrator.
2014.
Red Zone Campaign (excerpts), 2013
“The Red Zone” refers to the first six weeks of Fall term, during which time women are at an extremely increased risk of experiencing sexual assault. During my work with the University of Oregon Women’s Center, one of our campaigns centered around raising sexual assault awareness during this time.
Photoshoot directed by me, photos shot by Sandra Martinez Modesto, page layout also by me.
Special thanks to Meerah, Alice, David, and Robyn for being terrific models & good friends.
2013. An interpretation of downtown Eugene, Oregon (my hometown). The place has a lot of characters.
2013. A project for digital drawing where we had to draw monsters, so I took some liberties with different viruses. 50 in total, and included a couple of individual close ups.
Some untitled drawings of some girls with some skulls. Done in Illustrator. 2013.
