CURATORIAL RATIONALE
This exhibition explores the various connections we make with the natural world. I first wanted viewers to
inspiration from the photographer, Vivian Maier, and her focus on bringing attention to those overlooked
mistreated or ignored, yet incredibly graceful and soulful in their own right. I continue to convey the beau
a scene in Costa Rica, an incredibly biodiverse country. Taking inspiration from David Hockney, this wor
unnecessary detail, allowing the scene to be stripped to its essence to highlight its fundamental beauty. Th
mark a shift from simply appreciating the diversity offered by nature to reflecting our place within its gras
portrays nature’s ability to overwhelm and persist beyond our control. This is done through form and its s
natural elements portrayed and physically overwhelms viewers. The Garment below, influenced by Vincen
nature’s unpredictability and its allure. Life Support, also conveys our existence at the mercy of nature —
the first drawing, the vines imitate veins, highlighting how nature sustains life as blood does. The second f
the passive hand, suggesting harmony. Here, the viewer is encouraged to reflect on the potential for a mor
with it, rather than against it. Flow marks the transition to a parrot-focused collection, presenting themes
The Abstract Expressionist background, layered with mixed media, evokes energy and movement, while t
birds in flight. Flow proceeds Bound Birds to highlight the juxtaposition of a world where parrots exist on
explores how practices like clipping and solitary confinement, physically and mentally trap pet parrots, th
animation and live action, builds on these ideas, presenting the disparity between lives of pet parrots and t
confronts those inflicting captivity on parrots, to evoke guilt from the viewers and elicit change. I aimed to
the pet trade, sought after for their entertainment value and beauty, resulting in declining wild population
Cornell’s layering of found materials and boxed compositions, I included chains, clocks, aged maps, and d
human greed. Exploring my personal relationship with parrots, my self portrait series reflects my deep con
, STREET LIF
This exhibition explores the various connections we make with the natural world. I first wanted viewers to
inspiration from the photographer, Vivian Maier, and her focus on bringing attention to those overlooked
mistreated or ignored, yet incredibly graceful and soulful in their own right. I continue to convey the beau
a scene in Costa Rica, an incredibly biodiverse country. Taking inspiration from David Hockney, this wor
unnecessary detail, allowing the scene to be stripped to its essence to highlight its fundamental beauty. Th
mark a shift from simply appreciating the diversity offered by nature to reflecting our place within its gras
portrays nature’s ability to overwhelm and persist beyond our control. This is done through form and its s
natural elements portrayed and physically overwhelms viewers. The Garment below, influenced by Vincen
nature’s unpredictability and its allure. Life Support, also conveys our existence at the mercy of nature —
the first drawing, the vines imitate veins, highlighting how nature sustains life as blood does. The second f
the passive hand, suggesting harmony. Here, the viewer is encouraged to reflect on the potential for a mor
with it, rather than against it. Flow marks the transition to a parrot-focused collection, presenting themes
The Abstract Expressionist background, layered with mixed media, evokes energy and movement, while t
birds in flight. Flow proceeds Bound Birds to highlight the juxtaposition of a world where parrots exist on
explores how practices like clipping and solitary confinement, physically and mentally trap pet parrots, th
animation and live action, builds on these ideas, presenting the disparity between lives of pet parrots and t
confronts those inflicting captivity on parrots, to evoke guilt from the viewers and elicit change. I aimed to
the pet trade, sought after for their entertainment value and beauty, resulting in declining wild population
Cornell’s layering of found materials and boxed compositions, I included chains, clocks, aged maps, and d
human greed. Exploring my personal relationship with parrots, my self portrait series reflects my deep con
, STREET LIF
