Collaboration has always been integral to my practice. As a child, I drew side by side with my sister, filling pages with imagined monsters, each of us borrowing and transforming the inventions of the other. That early, intuitive exchange became a template for how I understand creative dialogue. Years later, I encountered Griot NY, a collaboration between sculptor Martin Puryear, musician Wynton Marsalis, and choreographer Garth Fagan. The work’s interwoven visual, musical, and physical vocabularies and wordless communication blurring boundaries between genres, made so much sense to me. That experience, coupled with my own early experiences of shared making, continues to shape how I approach collaboration today, whether in my art practice or my teaching (more about that on my About page).

My longest-standing collaboration was with TangenT (2008–2019), a collective I co-founded. Together we created mixed-media, project-based, immersive environments that examined urgent ecological, political, and social themes. Exhibited in venues from Lafayette College’s Grossman Gallery and the Grey Space at Crane Arts to the Kimmel Center and the DUMBO Arts Festival, works such as Eco, Ecco, Echo and Weight of Water embodied our ethos: art as a space of questioning and dialogue about the structures shaping our shared world. TangenT sought to illuminate the entanglement of human and environmental survival, offering audiences immersive experiences of both critique and connection.

Since then, my collaborative practice has taken many forms: making work with artists, dancers, and musicians; initiating call-and-response dialogues such as Living With Worlds as They End; and fostering cross-disciplinary exchanges with writers, poets, and scientists. These collaborations expand my practice in ways my solo work cannot—where my individual projects emerge as internal responses to experience, my collaborative work becomes a dialogue shaped with and through others. My most recent projects—Field Notes, with Deirdre Murphy, drawing on my parents’ archival notebooks, and Measured in Bricks: 2¾ × 4½ × 9½, with Chris Bonner, exploring clay, bricks, and historical brickmaking—carry this trajectory forward, one rooted in personal histories, the other extending inward experience into material form.