OOO Press: A Public Opening
Installation
Graduate Thesis
UIC Year End Show, 2026
PUBLICATIONS: risograph / laser print
PRINTS: risograph / letterpress / linoleum
EDITIONS: 35-200
STRUCTURES: raw lumber + plywood (6' H x 3' W x 2.5' D)
ROLE: identity, production, experiential
For UIC's 2026 Year End Show, I staged the grand opening of OOO Press, building the gallery into a working studio and point of sale instead of a display of finished objects. A two-sided shelving unit held artist books in editions of 35-60 and prints in risograph, letterpress, and linoleum relief in editions of 35-200. A second structure, a working station, matched my actual studio setup: cutting mat, binding, carving, and cutting tools, and the reference material that shaped the practice.
I built both structures from raw lumber and plywood (6' x 3' x 2.5'), leaving joints and grain exposed, so they look built, not bought, and hold work finished by hand to a print-shop standard. A press is a workshop that also happens to be a storefront, and splitting the room let visitors see both at once. Work was sold on opening night.
Everything on view was designed and produced in-house.
Bodies of Time
Artist Book
OOO Press
2025
EDITION: 35
BOOK: 9-panel accordion fold (4" folded / 36" unfolded)
PROCESS: monotype from reclaimed risograph masters
ROLE: writing, printmaking, binding
Bodies of Time is a nine-panel accordion-fold artist book that unfolds from a pocket-sized edition into a 36-inch continuous sequence.
I wrote the poem and pulled monotypes using discarded Risograph masters as ink plates of my field drawings of the Ox-Bow campus.
I printed on Arches cold-press cotton. Its stiffness keeps the book from closing completely, so it stays slightly open, even at rest.
2025, Ox-Bow School of Art. Edition of 35.
Weaving As Inquiry
Research Portfolio
2025
FORMS: code, textile, publication
CODE: p5.js — preset weave structures + randomized pattern generation
TEXTILE: 3 hand-woven swatches, ~6" H, 2-5" W
PUBLICATION: 8 x 10", coil-bound folio
ROLE: research, code, weaving
[Live Sketch]
Weaving as Inquiry follows one system across code, textile, and print, asking what changes as it moves between them. After seeing Textile Manifestos at the Museum für Gestaltung Zürich, I developed a p5.js generator that simulates five weave structures (plain, twill, basket, satin, chevron) alongside randomized over/under patterns and color relationships. I wove three swatches from selected outputs, on an improvised loom of warp thread wrapped around a wooden block. A 27-spread, 8 x 10" coil-bound folio documents the full process.
2025. p5.js, embroidery floss woven swatches, coil-bound folio.
The Invisible Man
Motion Design
Speculative Opening Sequence
2024
RUNTIME: 1:30
SOFTWARE: Adobe After Effects
ROLE: typography, motion design
A speculative opening sequence for The Invisible Man (2020), rendered entirely in type. I echoed the film's close-ups and panning wide shots using my own and royalty-free footage, converted it to ASCII characters, and degraded it with CRT flicker and signal loss, so viewers lean in and search the noise for figures that may or may not be there. The look draws on terminal interfaces and security-monitor displays. Under sourced music, I designed and mixed breathing and computer sounds: the breath suggests a presence in the room, the hum suggests the system watching it.
2024. Speculative project, not affiliated with the film.
Studies in Surface & Stitch
Sculpture,
Artist Book
UIC Summer Risograph Residency
2025
PATTERNS: 30
QUILT: 5 x 5 ft, machine-sewn paper patchwork
EDITION: 32
BOOK: 6 x 5", prong-bound
ROLE: pattern design
A month-long project at the UIC School of Design Summer Residency, where I was one of two residents in the program's inaugural cohort. I developed 30 patterns from textile motifs, printed them in batches on the Risograph, and sewed the paper into two objects: a 5 x 5 foot quilt and a 6 x 5 inch artist book.
I built the quilt from basic quilt block patterns, patchworking paper pieces edge to edge into one continuous surface. The book borrows the format of a commercial swatch catalogue: samples sewn directly onto pages in white, blue, pink, and yellow stock, stacked so a single pattern shifts across color and surface. A prong fastener holds it together, so pages can be removed, reordered, or added.
2025. One quilt; edition of 32 artist books.
Clusters
Generative Print
Collaboration with Amogh Parajuli
2024
BLOCKS: 15, laser-engraved linoleum
LARGE-FORMAT: 22 x 30", 9 frames, 3 ink passes
ROLE: generative code (lead), physical production (collaborative)
[Live Sketch]
Clusters is a collaboration with designer Amogh Parajuli that translates a generative coding system into hand-printed work. I led the code, a layered p5.js sketch that generates abstract symbols and type, and we turned it into fifteen laser-engraved linoleum blocks, each layer usable in any composition. At the etching press, I handled registration and block placement while Amogh inked and pulled each print.
Small prints (8 x 10", two to three ink passes) explore different combinations of the fifteen blocks. Three 22 x 30" prints push the system further: each is a grid of nine frames built from three layered block arrangements, one color per layer, and no two share an arrangement. Every print is never exactly repeated: a static moment from an active system.
2024. Linoleum, etching press, p5.js. Small prints are an open edition; three large-format prints.
frills y furia
Artist Book
OOO Press
2026
EDITION: 60
BOOK: 6.5 x 8.5", modified Japanese stab binding
SOURCE: found/archival print media, lace pattern motifs
ROLE: collage, printing, binding
frills y furia puts lace and lucha libre in the same frame. Lace is coded feminine; lucha libre is coded hyper-masculine, built on costumes and personas worn into the ring. I collaged found and archival lucha libre print material against lace patterns, using lace as both motif and frame, in a 6.5 x 8.5" Risograph book. The binding is a variation on Japanese stab binding, reworked to echo the lacing on the back of a lucha mask.
I first explored the concept at Ox-Bow School of Art and developed it into two editions: 15 copies in 2025 with ten collages, and 60 in 2026 with nineteen and a shifted ink palette.
2025-2026. Risograph, modified Japanese stab binding.
South By Southwest
Festival Photography
2022, 2023
DURATION: 10 days
DELIVERY: 200+ images/videos per run
FORMAT: mobile + mirrorless
ROLE: photography, content delivery
I shot South by Southwest in 2022 and 2023 as a contract member of the festival's 25-person social media content team. I worked from a suggested shot list, but was briefed to extend the festival's energy and style, so I used it as a starting point and shot to the mood.
I delivered 200+ photos and videos per ten-day run, on mirrorless and mobile, same-day. My first year covered the full festival, from panels to activations to performances. In 2023 I was assigned to focus on live music and atmosphere. Nine of my videos ran on SXSW's official Instagram Story.
2022 and 2023, SXSW. Contract photographer.
Unregistered Growth
Documentation Publication
OOO Press
2025
DURATION: 5 month, self-directed study
EDITION: 12
BOOK: 4.75 x 7.5", coptic stitch + wrap-around cover w/ exposed spine
COMPOSITIONS: 10, linoluem relief
ROLE: printmaking, writing, editorial design
Unregistered Growth documents five months of self-taught linoleum relief printmaking. The title puns on registration, the alignment of layered prints, for growth still finding its alignment. I chose linoleum for its low technical barrier, then moved from single-block compositions into reduction printing, multi-block registration, and more complex carving: ten compositions, each in an edition of 15.
The book records that arc in two registers on two stocks. Finished compositions and reflective text are laser-printed in black on neutral off-white, a step back to assess. Process video stills and in-progress written reflections are Risograph-printed in brown on warm brown stock, closer to a working notebook. Readers know which mode they're in before they read a word. A wrap-around cover with an exposed spine shows the hand-sewn Coptic stitch.
2025. 4.75 x 7.5". Edition of 12.