Taking the 45th and 47th US President’s Executive Orders, artists are asked to redact and erase text to make a new statement of resistance to the current racist, sexist, and homophobic harmful rhetoric in the US. Through this intentional editing of hatefully charged text we break through a new and empowering message, “we see you” and “we are not going anywhere!”

I draw from two sources of inspiration as the base of the surface image of a figure, Barbarella, while placing objects, stencils, texts, and other tools to shape the landscape around the figure as a means of telling a story.

This exhibition is a poignant exploration of memory, grief, and endurance, assembled in profound dialogue with the legacy of Day Without Art. Drawing on a richly layered aesthetic, the work employs found objects, archival photographs, fabric, and video to evoke the fragmented yet persistent nature of collective memory, particularly as it relates to the early years of the AIDS crisis and the cultural response that followed. The installation resists linear narratives, instead inviting viewers to navigate a terrain of loss — spaces where absence is both palpable and charged with meaning.

With meticulous pasting and stitching, this second installment of the Pulp Fiction exhibition spans the well-worn pages of HERstory into a women’s artistic narrative curated by Tricia Earl.

Presented as a one-night-only event by a local women’s art collaborative known as The Vulvas—which includes artists Katy Ballard, Tricia Earl, and Leslie Sotomayor—the showcase focused heavily on "ARTivism" (art and activism), live music, local vendors, and drag performances

“Nasty Women” art exhibitions (2017-2018) created a collective mobilization of women-identified artists from Lubbock, Texas to Brussels, Belgium.