Born and raised in the small town of Mount Juliet Tennessee to two veterinarians, I was taught to appreciate the intricacy and beauty of the natural world. Driven by a love for animals and organic systems I began my artistic career early on in high school by attending the Tennessee Governor's School for the Arts where I developed a passion for sculptural and printmaking practices. Continuing these interests, I pursued a degree in both sculpture and printmaking at the University of Tennessee. Over the course of my college career, I had the opportunity to work with and learn a variety of techniques and materials. These ranged from steam bending hardwoods and casting metal into ceramic molds to carving stone and laser cutting plastics. As I learned, I strove to incorporate more and more artisanal practices into my works as well as incorporate aspects of my wider education whether they courses in the humanities, sciences, or other non-artistic fields. Springing from my love for animals and scientific discovery, my early artistic career focused on the creation of a series of fictitious animals. These were creatures that I designed to have certain physiological and biochemical characteristics that would allow them to survive and live in hypothetical environments. Often these would include completely fictitious environments like planets in a distant solar system, and at other times they would be more suited to actual environments like the Jovian moons. This emphasis on research and world building around the creatures I would create lead me to unconventional methods of displaying my work. Often I could be seen installing my work in local science museums or labs and display areas where they could be seen with other actual specimens.
This guerilla style of installation allowed my artworks to be seen as more than just pieces of artworks, but as authentic specimens of what I was trying to create. Building off of this, my work began a transition into creating cybernetics and bionics. This started with conceptual form studies as well as historical models for prosthetics that could have been made during different periods in world history. Like my previous works, these were displayed in settings that aided in their perceptual authenticity; storefronts, robotics fairs, ect. These works culminated in a thesis show in which i transformed an isolated gallery space into a showroom for 5 sets of bionics that were based off of the biological traits of various animals complete with displays, advertisements, and product descriptions. Post graduation I began working at the Massachusetts Museum for Contemporary Art where I worked as an art fabricator and lighting designer building and lighting shows for various artists from Nick Cave and Alex Dacorte to James Turrell and Elizabeth King. During my time at the museum, I was exposed to a wide variety of manufacturing, creative, curatorial, and collaborative practices which not only allowed me to grow and develop as a maker; but allowed me to reevaluate and reexamine my own artistic practice. Coming to the conclusion that my current artistic practice could at most only inspire and motivate the technological changes in prosthetics, orthotics, bionics, and cybernetics; I began looking into non artistic fields that would allow me to better utilized my exhaustive research practices as well as my skills as a maker. Deciding to delve into the field of industrial design, I began rebuilding a new portfolio as well as teaching myself 3d modeling with Rhino 3d and web based coding in HTML and CSS. My goal was and still is to make the conceptual and theoretical models that were present in my artistic practice into realistic models that also incorporate the wider considerations of design. Continuing this goal, I enrolled at the Rhode Island School of Design where I am currently studying to get my Masters of Industrial Design.