Decaydence: BUY ME
2025, Video
Decaydence: Buy Me interrogates the intersections of commodification, mortality, and aesthetic obsession through performative puppetry and grotesque humor. In the video, the character Delvey and their puppet enact a satirical commercial for formaldehyde products, framing preservation as a form of luxury. The menacing jingle functions as both critique and spectacle, exposing how contemporary culture markets fear and vanity. By exaggerating the desire for eternal beauty, the work questions the ethics of commodified self-preservation and highlights the performative nature of consumption, mortality, and cultural fascination with decay and longevity.
Delvey’s Transformation
2024, Video
Delvey’s Transformation explores corporeality, synthetic preservation, and the uncanny through a hybrid performance-video installation. The work stages Delvey’s dual existence: by day, a human figure and by night, a monstrous emergence from a washer and dryer, enacting a grotesque metamorphosis. Consuming laundry detergent, Delvey initiates a formaldehyde-driven obsession, embodying the tension between organic life and artificial prolongation. The video ends with the appearance of another soul, mediated through a felt hand, suggesting the porous boundary between selves, objects, and synthetic life. Through absurdity, horror, and puppetry, the piece interrogates desire, consumption, and the impulse to extend existence through synthetic or performative means, positioning the domestic appliance as both vessel and transformative agent.
Death becomes Roxy?
2024, Video
Death Becomes Roxy? captures the surreal transformation of Roxy, a persona caught between the performative and the grotesque. The video fuses camp aesthetics with horror and Americana iconography, referencing classic cinematic tropes while pushing them into a vividly theatrical space. The work interrogates the allure of horror as a lens for self-exploration, using visual excess and exaggerated performance to reveal the tension between control and chaos, desire and fear. Ultimately, the video becomes a stage for Roxy’s embodiment of both critique and celebration, challenging viewers to navigate the liminal space between humor, horror, and artifice.
Fruitcake’s Ouija Reading with Trump
2024, Video
Fruitcake’s Ouija Reading with Trump explores the intersection of political satire, puppetry, and the uncanny. Through the mischievous character of Fruitcake, I stage a surreal encounter with the spirit of Donald Trump, using the Ouija board as both a prop and a metaphor for the lingering influence of public figures in collective consciousness. By positioning a muppet at the center of this interaction, the work destabilizes traditional authority, invites reflection on contemporary political absurdities, and emphasizes the performative nature of leadership and media manipulation.
The Great Billionaire Purge
2025, Video
Special Thanks to the group of Mickee Faust, Tallahassee, FL
The Great Billionaire Purge is a satirical and surreal fusion of Illustrative and live sets that imagines a twisted utopian world where world leaders and billionaires are captured and put into a game show. Hosted by chaotic Fruitcake, the elite endure a series of absurd challenges while getting pelted with eggs, zapped with tazers, and are made to meet their final doom. With reality TV as a central point, the work skewers obsession with wealth, power, and spectacle, turning towards both humor and campy horror to create a theatrical critique of privilege and excess.
Roger that
2025, Video
This work engages with Juvenal’s critique of societal distraction in the phrase “bread and circuses,” examining how spectacle and consumption function as mechanisms of social control. Through the figure of Delvey Monster, who is decorated with a stylized traffic cone and consuming a mouthful of bread, the piece transforms everyday objects into symbols of indulgence and distraction. As the exploration begins of humor, camp, and grotesque means of satisfaction/content, the work interrogates the ways aesthetic and performative strategies reveal and critique structures of power.
Inaudible Words
2024, Video
This installation responds to my experience with hearing loss and the use of hearing aids. Distorted video and audio are projected through hanging acrylic ears, which cast shifting shadows and reflections across the space. The work transforms perception, turning the room into a world where sound and vision are unstable, and where listening becomes an act of attention and vulnerability. By abstracting the sensory experience of hearing, the piece invites the audience to inhabit the uncertain space between clarity and distortion.