Murmurations (100,000 selfies)

Murmurations is a series of ‘collective self-portraits’: abstract visualizations inspired by flocking patterns found in nature. Comprised entirely of selfies, the series explores how social media is influencing behavior and the large-scale patterns that emerge in society despite an emphasis on individualism. The series introduces questions around the idea of self ‘tagging’ — both through language (hashtagging) and geolocation — and explores the compulsion humans feel to leave traces of themselves. 

The forced grouping of these images highlights their extreme similarities, supporting the idea that human populations will always move toward conformity, no matter how individualistic each unique member imagines themselves. Trying to be unique creates patterns of likeness, and observing these patterns may offer new ways of understanding ourselves.

An excerpt from Palimpsest Journal’s 2020 review: “As participants in social media, we are continuously aware of ourselves, particularly in relation to trends, the collective, and the digital. Yet this is not a critical display of humans’ infatuation with the digital world, rather, it spectates as you might a flock of starlings; an idea which takes on new poignancy in a time where social media has been integral to life in a pandemic.”

Murmurations #23: 10,000 selfies (with a pink wall in Los Angeles) was shortlisted for the 2020 Aesthetica Art Prize.  

Duratrans with LED lightboxes; Video
48x64in ea.

So Close Yet So Far, LEVYdance, 460 Gough Street, San Francisco, CA, 03.14—04.25.2021
Aesthetica Art Prize Exhibition 2020, York Art Gallery, York, UK, 03.13—07.18.2020 
The de Young Open 2020, de Young Museum, San Francisco, CA, 10.10.2020—01.03.2021  

Exhibition photographs by Stuart McSpadden

Future : Potential

Future : Potential :: Potential : Future is a data-driven project that explores environmental loss through a digital archive. 

Each installation focuses on a specific endangered environment, such as the Great Barrier Reef, the Dead Sea, or the Patagonia Ice Shelf. The process involves collecting approximately 500 top Google Image results for each environment and combining these images into a single composite. An algorithm then breaks down and rearranges the composite's pixels by hue.

The final output resembles an autostereogram—a 3D illusion image. By transforming familiar images into abstract representations, the project encourages reflection on environmental change and potential futures prompting viewers to consider what future they see. 

Sumatra, Google Images, 2023
Patagonia Ice Shelf, Google Images, 2023
Great Wall of China, Google Images, 2023
Petra, Google Images, 2023
Amazon Rainforest, Google Images, 2023
Dead Sea, Google Images, 2023

Machu Picchu, Google Images, 2023
Great Barrier Reef, Google Images, 2023
Tadrart Acacus, Google Images, 2023
Maldives, Google Images, 2023
Dye-sublimation on aluminum
Dimensions: 60x40in. 


Informed by Google predictive search data captured from two major U.S. cities, individual search queries centered around the self ("Am I...", "Will I...", "Why can't I...", etc.) were silently broadcast back to the streets. Ranging from the banal, to the personal, to the existential, the questions reflect a subconscious yet familiar anxiety.

The project exploits our individual insecurities to reveal that beneath a surface of isolation exists the possibility of community, empathy, and acceptance—if we are willing to risk exposure and intimacy. 

Mobile LED Advertising Kiosks

Collaboration with Jeremy Mende

Circadian Echoes

Circadian Echoes is a series of abstract visualizations that considers the nature of digital photography through its relationship to documenting time. Each Echo is generated with colors recorded from photographs of the sky at particular locations on specific days.

Through a recursive process of data collection, sky colors are digitally photographed, cataloged, and then reduced into their most simplistic form: 5 - 7 representative pixels. These truncated images are then regenerated and re-expanded into new forms: abstract visualizations that act as a record of time, space, and medium. 

The series is an exercise in the exploitation of digital photography—manipulation of a documentarian tool by reducing the form into its most elemental technical parts. By preserving only a handful of pixels from the original photographs, Circadian Echoes takes the fundamental building blocks of digital photography and subverts them. The result is a visual record of the tensions between perception (of the self and/or of the camera) and reality.

Developed as part of the Regeneration Artist Residency in Oakland, California. 

Dye-sublimation on aluminum.
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Year X (Emoji)

An experiment in abstract data expression, Year X depicts one year’s worth of text message data between two people, stripped of everything except for emoji. By purposefully excluding reference to individual characters, the patterns of emoji use are exposed.

Offset Lithography

One Week of Emails in July

A tangible representation of an intangible media, One Week of Emails in July is a visualization of every email received between 07.09—07.15.2018. Meticulous details such as the correspondent, whether the email was sent or received, and time were collected and are represented via strokes, symbols, and color.

Ink on paper

Mode Metonym

Mode Metonym plays with the abstract notion of imprint and function. The collection of sculptural pieces invites performance—the objects appear to fit into or onto the body—and attempts to negotiate the need to physically wear these body adornments with the desire to engage and interact with the pieces. The resulting movements offer a response to the ever-shifting boundaries of both art and fashion.

Collaboration with Kate Langrish Smith

Performance; Archival inkjet prints; Projection 
Dimensions vary.

Transfashional, Rimini (IT), Kalmar (SE), Vienna (AS), Warsaw (PL), London (UK)


In [Between] Images is an exploration of self-conscious female identity and the concept of the in-between through the performance of photography. The series of photographs, encountered through an installation where they are projected life-size, offer the viewer a liminal space in-between the image source and the projected image in which they are free to enter. The viewer is asked to consider his/herself in conjunction with the work.


MA14*, Victoria House Basement, London, UK, 02.11.14—02.16.2014

39 Steps Until Disappearance

A photographic experiment using sequential imagery and performance-for-the-camera in an attempt to harness affect. The performance explores feminism as a linear narrative by emphasizing movement through time and space.

The images refer to the act of undressing, and the casting off of the heavy coat signifies a rejection of the patriarchal constructs of femininity while subtly referencing the fashion industry’s perpetuation of this construct. After the coat is discarded, the viewer is left with the uncovered woman, but eventually even she disappears and only the coat remains.

Inkjet prints from medium format negatives.

Turn Around

Turn Around is a series of self-portraits that explore insecurities in selfhood from a particularly female perspective. The series was created in response to society's constant evaluation of outward appearances and the ways in which people can be dramatically affected by their clothing choices. Using familiar poses borrowed from fashion and advertising, assumptions are subverted when the viewer finds that in fact, the subject is actually facing away from the camera, poses given away by the backs of knees, the position of thumbs, or the backs of elbows.

Archival Inkjet Prints

MNEMONIC*, H Gallery, Ventura, California (US), 06.09.18—07.22.2018