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Sorry y’all, this is long one! As the exhibition “Laboratory for Other Worlds” at the Yale Institute of Sacred Music @yaleism is in its final days, I’m reflecting on the incredible symposium we hosted (link to recording in bio!) to explore major themes of the show. The symposium sought to bring together diverse artistic, poetic, and scientific voices to make climate science accessible through creative work. Through encounters with climate science, Indigenous knowledges, and European pre-modern mythology in Laboratory for Other Worlds, Western ontological frameworks are broken, but still present, creating generative tension The goal is to sit with this tension, to begin the work of sorting out threads of thriving from those that entail what Deborah Bird Rose calls “double death”: death across species including humans and nonhumans, of not just individuals, but of entire communities, populations, and cultures due to modern practices, and to support a much-needed re-weaving of ontologies.

The first two images are from anthropologist, NYU Gallatin faculty and Wetlab Curator, Dr. Eugenia Kisin’s keynote presentation: “Laboratory for Other Worlds: Designs for Living Beyond Damage: (Co)Laboratory Protocols.”

The third image is the title page from my fantastic Tufts Earth and Climate Science collaborator, Dr. Andrew Kemp’s presentation that describes how his research finds that current sea level rise in the Northeastern United States is unprecedented.

The next images are from NYU faculty and volcanologist @karenholmberg Karen Holmberg’s presentation on her research, here, listening to the mountain, and her work as Scientific Director of the Wetlab, a teaching gallery and living laboratory on Governor’s Island, where the exhibition “Laboratory for Other Worlds” will be installed this month.

The last is from Anesu Nyamupingidza’s delicious presentation from research on local edible wild marsh plants found in the collection of the Yale Peabody Museum and in her ethos of exploring the world through tasting it, Anesu shared recipes for salt marsh plants, this recipe based on a Zimbabwean favorite!

Sorry y’all, this is long one! As the exhibition “Laboratory for Other Worlds” at the Yale Institute of Sacred Music @yaleism is in its final days, I’m reflecting on the incredible symposium we hosted (link to recording in bio!) to explore major themes of the show. The symposium sought to bring together diverse artistic, poetic, and scientific voices to make climate science accessible through creative work. Through encounters with climate science, Indigenous knowledges, and European pre-modern mythology in Laboratory for Other Worlds, Western ontological frameworks are broken, but still present, creating generative tension The goal is to sit with this tension, to begin the work of sorting out threads of thriving from those that entail what Deborah Bird Rose calls “double death”: death across species including humans and nonhumans, of not just individuals, but of entire communities, populations, and cultures due to modern practices, and to support a much-needed re-weaving of ontologies.

The first two images are from anthropologist, NYU Gallatin faculty and Wetlab Curator, Dr. Eugenia Kisin’s keynote presentation: “Laboratory for Other Worlds: Designs for Living Beyond Damage: (Co)Laboratory Protocols.”

The third image is the title page from my fantastic Tufts Earth and Climate Science collaborator, Dr. Andrew Kemp’s presentation that describes how his research finds that current sea level rise in the Northeastern United States is unprecedented.

The next images are from NYU faculty and volcanologist @karenholmberg Karen Holmberg’s presentation on her research, here, listening to the mountain, and her work as Scientific Director of the Wetlab, a teaching gallery and living laboratory on Governor’s Island, where the exhibition “Laboratory for Other Worlds” will be installed this month.

The last is from Anesu Nyamupingidza’s delicious presentation from research on local edible wild marsh plants found in the collection of the Yale Peabody Museum and in her ethos of exploring the world through tasting it, Anesu shared recipes for salt marsh plants, this recipe based on a Zimbabwean favorite!

Sorry y’all, this is long one! As the exhibition “Laboratory for Other Worlds” at the Yale Institute of Sacred Music @yaleism is in its final days, I’m reflecting on the incredible symposium we hosted (link to recording in bio!) to explore major themes of the show. The symposium sought to bring together diverse artistic, poetic, and scientific voices to make climate science accessible through creative work. Through encounters with climate science, Indigenous knowledges, and European pre-modern mythology in Laboratory for Other Worlds, Western ontological frameworks are broken, but still present, creating generative tension The goal is to sit with this tension, to begin the work of sorting out threads of thriving from those that entail what Deborah Bird Rose calls “double death”: death across species including humans and nonhumans, of not just individuals, but of entire communities, populations, and cultures due to modern practices, and to support a much-needed re-weaving of ontologies.

The first two images are from anthropologist, NYU Gallatin faculty and Wetlab Curator, Dr. Eugenia Kisin’s keynote presentation: “Laboratory for Other Worlds: Designs for Living Beyond Damage: (Co)Laboratory Protocols.”

The third image is the title page from my fantastic Tufts Earth and Climate Science collaborator, Dr. Andrew Kemp’s presentation that describes how his research finds that current sea level rise in the Northeastern United States is unprecedented.

The next images are from NYU faculty and volcanologist @karenholmberg Karen Holmberg’s presentation on her research, here, listening to the mountain, and her work as Scientific Director of the Wetlab, a teaching gallery and living laboratory on Governor’s Island, where the exhibition “Laboratory for Other Worlds” will be installed this month.

The last is from Anesu Nyamupingidza’s delicious presentation from research on local edible wild marsh plants found in the collection of the Yale Peabody Museum and in her ethos of exploring the world through tasting it, Anesu shared recipes for salt marsh plants, this recipe based on a Zimbabwean favorite!

Sorry y’all, this is long one! As the exhibition “Laboratory for Other Worlds” at the Yale Institute of Sacred Music @yaleism is in its final days, I’m reflecting on the incredible symposium we hosted (link to recording in bio!) to explore major themes of the show. The symposium sought to bring together diverse artistic, poetic, and scientific voices to make climate science accessible through creative work. Through encounters with climate science, Indigenous knowledges, and European pre-modern mythology in Laboratory for Other Worlds, Western ontological frameworks are broken, but still present, creating generative tension The goal is to sit with this tension, to begin the work of sorting out threads of thriving from those that entail what Deborah Bird Rose calls “double death”: death across species including humans and nonhumans, of not just individuals, but of entire communities, populations, and cultures due to modern practices, and to support a much-needed re-weaving of ontologies.

The first two images are from anthropologist, NYU Gallatin faculty and Wetlab Curator, Dr. Eugenia Kisin’s keynote presentation: “Laboratory for Other Worlds: Designs for Living Beyond Damage: (Co)Laboratory Protocols.”

The third image is the title page from my fantastic Tufts Earth and Climate Science collaborator, Dr. Andrew Kemp’s presentation that describes how his research finds that current sea level rise in the Northeastern United States is unprecedented.

The next images are from NYU faculty and volcanologist @karenholmberg Karen Holmberg’s presentation on her research, here, listening to the mountain, and her work as Scientific Director of the Wetlab, a teaching gallery and living laboratory on Governor’s Island, where the exhibition “Laboratory for Other Worlds” will be installed this month.

The last is from Anesu Nyamupingidza’s delicious presentation from research on local edible wild marsh plants found in the collection of the Yale Peabody Museum and in her ethos of exploring the world through tasting it, Anesu shared recipes for salt marsh plants, this recipe based on a Zimbabwean favorite!

Sorry y’all, this is long one! As the exhibition “Laboratory for Other Worlds” at the Yale Institute of Sacred Music @yaleism is in its final days, I’m reflecting on the incredible symposium we hosted (link to recording in bio!) to explore major themes of the show. The symposium sought to bring together diverse artistic, poetic, and scientific voices to make climate science accessible through creative work. Through encounters with climate science, Indigenous knowledges, and European pre-modern mythology in Laboratory for Other Worlds, Western ontological frameworks are broken, but still present, creating generative tension The goal is to sit with this tension, to begin the work of sorting out threads of thriving from those that entail what Deborah Bird Rose calls “double death”: death across species including humans and nonhumans, of not just individuals, but of entire communities, populations, and cultures due to modern practices, and to support a much-needed re-weaving of ontologies.

The first two images are from anthropologist, NYU Gallatin faculty and Wetlab Curator, Dr. Eugenia Kisin’s keynote presentation: “Laboratory for Other Worlds: Designs for Living Beyond Damage: (Co)Laboratory Protocols.”

The third image is the title page from my fantastic Tufts Earth and Climate Science collaborator, Dr. Andrew Kemp’s presentation that describes how his research finds that current sea level rise in the Northeastern United States is unprecedented.

The next images are from NYU faculty and volcanologist @karenholmberg Karen Holmberg’s presentation on her research, here, listening to the mountain, and her work as Scientific Director of the Wetlab, a teaching gallery and living laboratory on Governor’s Island, where the exhibition “Laboratory for Other Worlds” will be installed this month.

The last is from Anesu Nyamupingidza’s delicious presentation from research on local edible wild marsh plants found in the collection of the Yale Peabody Museum and in her ethos of exploring the world through tasting it, Anesu shared recipes for salt marsh plants, this recipe based on a Zimbabwean favorite!

Sorry y’all, this is long one! As the exhibition “Laboratory for Other Worlds” at the Yale Institute of Sacred Music @yaleism is in its final days, I’m reflecting on the incredible symposium we hosted (link to recording in bio!) to explore major themes of the show. The symposium sought to bring together diverse artistic, poetic, and scientific voices to make climate science accessible through creative work. Through encounters with climate science, Indigenous knowledges, and European pre-modern mythology in Laboratory for Other Worlds, Western ontological frameworks are broken, but still present, creating generative tension The goal is to sit with this tension, to begin the work of sorting out threads of thriving from those that entail what Deborah Bird Rose calls “double death”: death across species including humans and nonhumans, of not just individuals, but of entire communities, populations, and cultures due to modern practices, and to support a much-needed re-weaving of ontologies.

The first two images are from anthropologist, NYU Gallatin faculty and Wetlab Curator, Dr. Eugenia Kisin’s keynote presentation: “Laboratory for Other Worlds: Designs for Living Beyond Damage: (Co)Laboratory Protocols.”

The third image is the title page from my fantastic Tufts Earth and Climate Science collaborator, Dr. Andrew Kemp’s presentation that describes how his research finds that current sea level rise in the Northeastern United States is unprecedented.

The next images are from NYU faculty and volcanologist @karenholmberg Karen Holmberg’s presentation on her research, here, listening to the mountain, and her work as Scientific Director of the Wetlab, a teaching gallery and living laboratory on Governor’s Island, where the exhibition “Laboratory for Other Worlds” will be installed this month.

The last is from Anesu Nyamupingidza’s delicious presentation from research on local edible wild marsh plants found in the collection of the Yale Peabody Museum and in her ethos of exploring the world through tasting it, Anesu shared recipes for salt marsh plants, this recipe based on a Zimbabwean favorite!

Isn't every day Earth Day? Well, on this particular Earth Day (of 365 a year) when we direly need remembrances of connection, care, and joy, I'm happy to announce that my good friend, oftentimes collaborator, and general, all-round rock star, Andrew Ranaudo / Ultraviolet Astronomy / @oduanar has released an album that is both beautiful and activist, Let the Light In. So honored to have this work, Remember Me as a Time of Day (2011, oil on panel) serve as the cover!

Isn't every day Earth Day? Well, on this particular Earth Day (of 365 a year) when we direly need remembrances of connection, care, and joy, I'm happy to announce that my good friend, oftentimes collaborator, and general, all-round rock star, Andrew Ranaudo / Ultraviolet Astronomy / @oduanar has released an album that is both beautiful and activist, Let the Light In. So honored to have this work, Remember Me as a Time of Day (2011, oil on panel) serve as the cover!

Greetings! This Friday, Yale Institute of Sacred Music is hosting “Laboratory for Other Worlds: Living Beyond Damage,” a symposium featuring Eugenia Kisin, Erin Genia @emgenia, Andrew Kemp, Tanya Crane @tmcrane613, Anesu Nyamupingidza, Karen Holmberg @karenholmberg, aru apaza @esunprocesoo, Juliana Spahr #julianaspahr, Camila Young @camila.isabelle.studio, Cassie Aimetti (and me!).

It is a thrill to have these scholars, scientists, and artists thinking with contemporary art, climate science, Traditional Knowledge, and what is owed by institutions that rest in lands that were once thriving ecosystems. Link in bio.

Yale Institute of Sacred Music Symposium April 10, 10AM-4:15PM
in person: Miller Hall, Yale University, 406 Prospect Street, New Haven, CT
streaming: by registration, link in bio

Photo credit: Erin Genia, Earthling, 2026, performance in relationship with Maine White Cedar Swamp

We’ve been driving down this road before
Is this it?
Is this what we’re fighting for?
New religion, new state of mind
Gilded Age is over
Now we cry

(Let the light in)

I couldn’t reach you if I tried
Will you still be here when the morning arrives?
I couldn’t keep you if I tried
Let the light in
Let it in

We’ve been driving down this road before
Running away, the pedal’s to the floor
Rear view mirror light into the past
Don’t look back, look forward
Let it go

(Let the light in)

I couldn’t reach you if I tried
Will you still be here when the morning arrives?
I couldn’t keep you if I tried
Let the light in
Let it in

We’ve been driving down this road before
Is this it?
Is this what we’re fighting for?
New religion, new state of mind
Gilded Age is over
Now we cry

(Let the light in)

I couldn’t reach you if I tried
Will you still be here when the morning arrives?
I couldn’t keep you if I tried
Let the light in
Let it in

Let the Light In the Other Side
Music and lyrics: @oduanar
Video: @patteloper

Let the Light In LP by Ultraviolet Astronomy available April 21

#patteloper #ultravioletastronomy #uva #letthelightin #spacejam

Greetings friends and lovers, this is opening tonight 5-7. Hope to see you there 💚🔥

From Yale ISM: This exhibition will be on view at the Yale Institute of Sacred Music’s Miller Hall at 406 Prospect Street, New Haven from March 26 - May 7 on Tuesdays, Wednesdays, and Thursdays from 12 -4 p.m.

Laboratory for Other Worlds is an exhibition series originated by contemporary artist Patte Loper. Past versions have invited viewers to consider the ways human imagination - whether arising from collective action or from communication across biological kingdoms - can affect the ongoingness of life on Earth.

At the Institute of Sacred Music, Loper is collaborating with earth scientist Andrew Kemp and contemporary artist and community organizer Erin Genia to connect climate science and social justice through speculative world building practices. The project asks: what if salt marshes and their microscopic biome, the site of Kemp’s research on paleolithic sea level rise, were considered sacred? These marshes are often located adjacent to urban areas, are valuable archives of Earth history for climate scientists, home to vital ecosystems, and provide protection to coastal communities (human and nonhuman) against storms and flooding. They are also highly vulnerable to anthropogenic damage. Laboratory for Other Worlds imagines the life in the microscopic cosmos that climate scientists depend on for data, as both sentient and entangled with our sphere of being. Our desire is to use this speculation to connect to the land and to help us consider what is owed locally and globally, by institutions that rest in and profit from lands that were once interconnected ecosystems stewarded by tribal peoples.

Free and open to the public.

Hey Y'all! Showing some kind of messy behind-the-scenes-only-mildly-panicked-studio-pre-packing-preparing-to-install shots from this week as I ready myself and my work for Laboratory for Other Worlds, opening March 25 at the Yale Institute of Sacred Music as part of their Sacred Cosmologies, Environmental Change, and Expressive Culture initiative, according to @yaleism :
"The environmental crisis cannot easily be disentangled from the religious perspectives on the meaning and value of the natural world. One way to understand these perspectives is through the lens of cosmology, a term that encompasses interrelationships between humans, other-than-humans, ecological systems and even the universe or cosmos itself." Love this framing of the ecological state of things and love being a part of this initiative. Along with the exhibition, opening March 25th, there is an affiliated symposium streaming and in-person, link available on the Yale ISM website, hope to see you there. 💚

Hey Y'all! Showing some kind of messy behind-the-scenes-only-mildly-panicked-studio-pre-packing-preparing-to-install shots from this week as I ready myself and my work for Laboratory for Other Worlds, opening March 25 at the Yale Institute of Sacred Music as part of their Sacred Cosmologies, Environmental Change, and Expressive Culture initiative, according to @yaleism :
"The environmental crisis cannot easily be disentangled from the religious perspectives on the meaning and value of the natural world. One way to understand these perspectives is through the lens of cosmology, a term that encompasses interrelationships between humans, other-than-humans, ecological systems and even the universe or cosmos itself." Love this framing of the ecological state of things and love being a part of this initiative. Along with the exhibition, opening March 25th, there is an affiliated symposium streaming and in-person, link available on the Yale ISM website, hope to see you there. 💚

Greetings social media! I'm so pleased to be part of this pop-up group show, opening tomorrow! And with this amazing group of artists. If you're in the East village tomorrow eve, please come check it out!

Hello internet friends! Please join me tomorrow, Saturday, Feb. 21 at Wave Hill's Winter Workspace open studios from 12:30-3:00pm. it's been a once in a lifetime experience working at Wave Hill. It's provided me with beauty, time, space to think, and the opportunity to make connections, both within my work and thinking, and also with an exemplary group of artists and curators. Come enter the pluriverse!

Shown: detail of "Salt Marsh Holobiome as Eukaryotic Cell" oil on canvas, 84" x 72"

A holobiome is defined as the sum total of the component DNA, including both the host genome and the microbiome, in a eukaryotic organism. There is a wide range of eukaryotic organisms, including all animals, plants, fungi, and protists, as well as most algae. Some scientists and environmental humanists also describe a holobiome as including the genomes of entire ecosystems, indicating that an ecosystem could be considered a single living organism. This painting shows a planktonic eucaryotic protist (a protist is a being that is neither plant, animal, nor fungi) called Coccolithophore (Emiliania huxleyi). E. huxleyi is a widespread species because of their ability to withstand a wide range of temperatures. These creatures form pale blooms that cover hundreds of thousands of square kilometers, cooling deeper waters. The long-term effects of this climate mechanism are still being investigated.

Hello internet friends! Please join me tomorrow, Saturday, Feb. 21 at Wave Hill's Winter Workspace open studios from 12:30-3:00pm. it's been a once in a lifetime experience working at Wave Hill. It's provided me with beauty, time, space to think, and the opportunity to make connections, both within my work and thinking, and also with an exemplary group of artists and curators. Come enter the pluriverse!

Shown: detail of "Salt Marsh Holobiome as Eukaryotic Cell" oil on canvas, 84" x 72"

A holobiome is defined as the sum total of the component DNA, including both the host genome and the microbiome, in a eukaryotic organism. There is a wide range of eukaryotic organisms, including all animals, plants, fungi, and protists, as well as most algae. Some scientists and environmental humanists also describe a holobiome as including the genomes of entire ecosystems, indicating that an ecosystem could be considered a single living organism. This painting shows a planktonic eucaryotic protist (a protist is a being that is neither plant, animal, nor fungi) called Coccolithophore (Emiliania huxleyi). E. huxleyi is a widespread species because of their ability to withstand a wide range of temperatures. These creatures form pale blooms that cover hundreds of thousands of square kilometers, cooling deeper waters. The long-term effects of this climate mechanism are still being investigated.

Hello internet friends! Please join me tomorrow, Saturday, Feb. 21 at Wave Hill's Winter Workspace open studios from 12:30-3:00pm. it's been a once in a lifetime experience working at Wave Hill. It's provided me with beauty, time, space to think, and the opportunity to make connections, both within my work and thinking, and also with an exemplary group of artists and curators. Come enter the pluriverse!

Shown: detail of "Salt Marsh Holobiome as Eukaryotic Cell" oil on canvas, 84" x 72"

A holobiome is defined as the sum total of the component DNA, including both the host genome and the microbiome, in a eukaryotic organism. There is a wide range of eukaryotic organisms, including all animals, plants, fungi, and protists, as well as most algae. Some scientists and environmental humanists also describe a holobiome as including the genomes of entire ecosystems, indicating that an ecosystem could be considered a single living organism. This painting shows a planktonic eucaryotic protist (a protist is a being that is neither plant, animal, nor fungi) called Coccolithophore (Emiliania huxleyi). E. huxleyi is a widespread species because of their ability to withstand a wide range of temperatures. These creatures form pale blooms that cover hundreds of thousands of square kilometers, cooling deeper waters. The long-term effects of this climate mechanism are still being investigated.

Hello internet friends! Please join me tomorrow, Saturday, Feb. 21 at Wave Hill's Winter Workspace open studios from 12:30-3:00pm. it's been a once in a lifetime experience working at Wave Hill. It's provided me with beauty, time, space to think, and the opportunity to make connections, both within my work and thinking, and also with an exemplary group of artists and curators. Come enter the pluriverse!

Shown: detail of "Salt Marsh Holobiome as Eukaryotic Cell" oil on canvas, 84" x 72"

A holobiome is defined as the sum total of the component DNA, including both the host genome and the microbiome, in a eukaryotic organism. There is a wide range of eukaryotic organisms, including all animals, plants, fungi, and protists, as well as most algae. Some scientists and environmental humanists also describe a holobiome as including the genomes of entire ecosystems, indicating that an ecosystem could be considered a single living organism. This painting shows a planktonic eucaryotic protist (a protist is a being that is neither plant, animal, nor fungi) called Coccolithophore (Emiliania huxleyi). E. huxleyi is a widespread species because of their ability to withstand a wide range of temperatures. These creatures form pale blooms that cover hundreds of thousands of square kilometers, cooling deeper waters. The long-term effects of this climate mechanism are still being investigated.

Hello internet friends! Please join me tomorrow, Saturday, Feb. 21 at Wave Hill's Winter Workspace open studios from 12:30-3:00pm. it's been a once in a lifetime experience working at Wave Hill. It's provided me with beauty, time, space to think, and the opportunity to make connections, both within my work and thinking, and also with an exemplary group of artists and curators. Come enter the pluriverse!

Shown: detail of "Salt Marsh Holobiome as Eukaryotic Cell" oil on canvas, 84" x 72"

A holobiome is defined as the sum total of the component DNA, including both the host genome and the microbiome, in a eukaryotic organism. There is a wide range of eukaryotic organisms, including all animals, plants, fungi, and protists, as well as most algae. Some scientists and environmental humanists also describe a holobiome as including the genomes of entire ecosystems, indicating that an ecosystem could be considered a single living organism. This painting shows a planktonic eucaryotic protist (a protist is a being that is neither plant, animal, nor fungi) called Coccolithophore (Emiliania huxleyi). E. huxleyi is a widespread species because of their ability to withstand a wide range of temperatures. These creatures form pale blooms that cover hundreds of thousands of square kilometers, cooling deeper waters. The long-term effects of this climate mechanism are still being investigated.

Greetings interwebs! I’m so happy to announce that I’m doing a Winter Workspace studio residency at Wave Hill.

It's making me consider what it means to exist in this privileged space – who gets this beauty? These old trees? This greenhouse? This view of the Hudson. Needless to say, it’s an honor to be here to consider complicated US heritages.

Tomorrow, Sunday, 2/1, there are drop-in hours in the studios from 1-3 and it would be lovely to see you. DM me for a code for free entrance.

In my work here, I’m thinking about the compost heap and its microscopic inhabitants, their invisible labor, how they take simpler elements and richly combine and complicate them in a reverse alchemy. I'm looking at the impure, the rotting, and the refuse because that's where it's all at.

Really honored to be sharing my time here with this wonderful group of artists:

@alex_dolores_, @lucia_gagliardone, @saricarelstudio, @gulizula, @noormah.jamal
#winterworkspace #wavehillartists #wavehill

Greetings interwebs! I’m so happy to announce that I’m doing a Winter Workspace studio residency at Wave Hill.

It's making me consider what it means to exist in this privileged space – who gets this beauty? These old trees? This greenhouse? This view of the Hudson. Needless to say, it’s an honor to be here to consider complicated US heritages.

Tomorrow, Sunday, 2/1, there are drop-in hours in the studios from 1-3 and it would be lovely to see you. DM me for a code for free entrance.

In my work here, I’m thinking about the compost heap and its microscopic inhabitants, their invisible labor, how they take simpler elements and richly combine and complicate them in a reverse alchemy. I'm looking at the impure, the rotting, and the refuse because that's where it's all at.

Really honored to be sharing my time here with this wonderful group of artists:

@alex_dolores_, @lucia_gagliardone, @saricarelstudio, @gulizula, @noormah.jamal
#winterworkspace #wavehillartists #wavehill

Greetings interwebs! I’m so happy to announce that I’m doing a Winter Workspace studio residency at Wave Hill.

It's making me consider what it means to exist in this privileged space – who gets this beauty? These old trees? This greenhouse? This view of the Hudson. Needless to say, it’s an honor to be here to consider complicated US heritages.

Tomorrow, Sunday, 2/1, there are drop-in hours in the studios from 1-3 and it would be lovely to see you. DM me for a code for free entrance.

In my work here, I’m thinking about the compost heap and its microscopic inhabitants, their invisible labor, how they take simpler elements and richly combine and complicate them in a reverse alchemy. I'm looking at the impure, the rotting, and the refuse because that's where it's all at.

Really honored to be sharing my time here with this wonderful group of artists:

@alex_dolores_, @lucia_gagliardone, @saricarelstudio, @gulizula, @noormah.jamal
#winterworkspace #wavehillartists #wavehill

Greetings interwebs! I’m so happy to announce that I’m doing a Winter Workspace studio residency at Wave Hill.

It's making me consider what it means to exist in this privileged space – who gets this beauty? These old trees? This greenhouse? This view of the Hudson. Needless to say, it’s an honor to be here to consider complicated US heritages.

Tomorrow, Sunday, 2/1, there are drop-in hours in the studios from 1-3 and it would be lovely to see you. DM me for a code for free entrance.

In my work here, I’m thinking about the compost heap and its microscopic inhabitants, their invisible labor, how they take simpler elements and richly combine and complicate them in a reverse alchemy. I'm looking at the impure, the rotting, and the refuse because that's where it's all at.

Really honored to be sharing my time here with this wonderful group of artists:

@alex_dolores_, @lucia_gagliardone, @saricarelstudio, @gulizula, @noormah.jamal
#winterworkspace #wavehillartists #wavehill

Greetings interwebs! I’m so happy to announce that I’m doing a Winter Workspace studio residency at Wave Hill.

It's making me consider what it means to exist in this privileged space – who gets this beauty? These old trees? This greenhouse? This view of the Hudson. Needless to say, it’s an honor to be here to consider complicated US heritages.

Tomorrow, Sunday, 2/1, there are drop-in hours in the studios from 1-3 and it would be lovely to see you. DM me for a code for free entrance.

In my work here, I’m thinking about the compost heap and its microscopic inhabitants, their invisible labor, how they take simpler elements and richly combine and complicate them in a reverse alchemy. I'm looking at the impure, the rotting, and the refuse because that's where it's all at.

Really honored to be sharing my time here with this wonderful group of artists:

@alex_dolores_, @lucia_gagliardone, @saricarelstudio, @gulizula, @noormah.jamal
#winterworkspace #wavehillartists #wavehill

Very fondly remembering my visit last month to Cornish College of the Arts, where I was lucky to be invited speak about my work, a talk titled “Spiders in the Death Zone: Recuperative Ecologies in a Time of Political Collapse.” Right now, as world events seem increasingly destabilized, it was equally calming and energizing to think with a group of incredibly smart students about the ecologies of Mt. St. Helen’s whose volcanic eruption almost fifty years ago seemed like an unsurvivable event. Considering the ways that the smallest and most humble of creatures, the Pardosa, was able evade cosmic wormholes in a quest to find love and multispecies community in the volcanic blast zone brought me hope as we enter a new year of unknowns. A big thank you to @cablegriffithstudio, @erinelyseburns for hosting and to @cornishcollegeofthearts for your smart and engaged students.

All are welcome, please DM me if you have questions 💚

Hi Y'all, Is it just me, or does July and August feel like a particularly cruel time to rollback the EPA's 2009 Endangerment Finding, the finding that greenhouse gasses should be regulated under the Clean Air Act? I mean, duh. If you agree, you may want to join me in going to regulations.gov and searching "Endangerment Finding" to post your public comments. Super easy and you have until Sept. 15. Thanks for considering and please take care of yourselves and each other.