Join us for the opening reception of Crossing Borders on October 6th from 6-9pm at 40 West Gallery. Come see how a group of diverse artists explore the limitless definitions of the term “border.”
Curated and organized by Angela Astle & Anne Myers with Athena Project in collaboration with Melissa Furness & Anna Kaye with PINKPROGRESSION, Crossing Borders showcases artwork that explores the ways in which we navigate physical and invisible boundaries set by our emotional and cultural landscapes, raising important questions regarding cultural biases, stereotypes, and human rights.
Following this event will be Artful Reflections on October 19, where artists and non-artists are welcome to come reflect about the artwork. Register here to join the conversation and connect with the artists!
Where: 40 West Gallery on 6501 W Colfax Ave, Lakewood, CO 80214
When: Art pieces will continue to be up for viewing until October 28, Wed-Sun, from 12-4pm.
We Would Rather Move Through Our Lives Like the Flow of Water” is a manifestation of my fascination with parametric design and its capacity to imbue wood with the fluidity of water. Guided by a personal philosophy that urges us to transcend two-dimensional perspectives, especially when it comes to the perception of Black individuals, the artwork symbolizes the desire for a more fluid existence, akin to the graceful flow of water, rather than rigid structures. Through this piece, I seek to challenge our visual literacy, inviting viewers to explore a deeper, more nuanced understanding of the world and its inhabitants.
Autumn T. Thomas (b. 1978) is an interdisciplinary artist currently working in wood sculpture. Her work challenges the boundaries of visual literacy by transforming wood into soft, twisting forms, mimicking the endurance required to thrive amidst the oppression and marginalization of women of color. Minimal in design, Thomas’ work personifies analogous, brown bodies as whispering forms of subversion, affecting prejudice by way of perception and visual literacy. Thomas is sponsored by Diaspora Vibe Cultural Arts Incubator (DVCAI) and the National Performance Network. She received her MFA in Book Arts and Printmaking from The University of the Arts, Philadelphia in 2017 and her BFA in Visual Communication from The School of the Art Institute of Chicago in 2015. She lives and works in Denver, CO.
This work explores the ever-changing nature of Earth’s geographic boundaries beginning with the supercontinent Pangea and ending with a look 250 million years into the future when it’s predicted Earth’s continents will merge once again to create another supercontinent, Pangea Ultima. Zooming out and viewing boundaries and borders in this larger global context presents the opportunity to step outside of the world where we currently exist and explore the shifting nature of our geographic boundaries.
This series consists of six framed works with each framed work measuring 13.5″ x 13.5″ x 1.75″.
Becky Wareing Steele is an artist living and working in Denver, Colorado specializing in small scale sculpture and public art. Her work deals with the commonalities that exist in our shared experiences through the examination of scale and environment. Through her sculptural and photographic work with 1:160 scale figures and 1:12 scale objects she explores the impact of scale and how it affects our perception of the world around us. This impact can also be found in the way we perceive ourselves in our environment. In more recent series she has developed narrative components to accompany the works, allowing the viewer to connect with the piece on a deeper level. Using settings familiar and accessible to everyone is a key component of her work. Through this process she is able to alter the way people view everyday situations, seemingly mundane at times, and invite the viewer to think about their place in the environment by altering the scale. Wareing Steele holds a BA in Art History from Colorado State University with a focus on Intuit Art.
I am from Turkey. I carry my roots with me everywhere I go, from how I relate to others to how I dance. I lived in this country as many years as I lived in Turkey. First, I protested the differences of both places, I then I let myself fall into the lightness of being borderless. The need for belonging is now replaced with a desire to be placeless. Wine-colored seas, rain washed cobblestones, dim staircases, fig trees warmed in the sun form the stages of my imagination, and are closer to my own roots. I trust them but at the same time my memory seeks nameless high meadows and darkest seas of far destinations, where live heroes of my imagination. I get attached to anyone with imagination, passion or wisdom from all lands; be it Italian, Israeli, Mexican, Cuban, Swedish, or Columbian. I am allured by ways of living that evolve as they mature such as the Japanese concepts. I am attracted to many philosophies that provoke thinking. So, I now dance only to music my heart desires. Borders of my personality is also blurry, giving a gentle kindness to where I can be and who I can be. The edge that separates sanity from insanity, or introvert from extravert is more exciting than assuming life-long labels. Even though there is a risk of falling off to the river of madness on the suspended bridge between reality and imagination, I take the risk. Social categorizations such as race, class, and gender also can be brutal in defining social status as they put barriers to how far each person can reach to the moon even though it is the same distance to us all. I seek edges that defy these categorizations by blurring binaries like male and female, young and old, poor and wealthy. There is no line between subconscious, dreams and imagination, they all end up in a form of truth glorified by beautiful minds and there is no line between any of us we seek the same thing, some form of meaning.
While enhancing our imaginations and consciousness, Belgin Yücelen’s art remains true to the desire to create meaning and beauty in subtle simplicity. With her installations, sculptures, films and prints, she asks the questions of Who we are? and Where we are going? So together we can achieve basic human wisdom. Rather than a direct representation, she creates a fictional world beyond the existing to conjure unrealized possibilities to challenge imaginations. Traces of her previous years in Turkey appear in her artwork placing it at the fascinating edge where East and West meet and ancient and modern coincide. She has been recognized by organizations such as the Colorado Creative Industries, Boulder Country Arts Alliance, Moon and Stars Project Grant, Clark Hulings Fund, Hemera Foundation, and National Sculpture Society. She founded in 2019 as a creative space for community use and studios for artists in Boulder, CO. She is currently serving as a board member at the Dairy Arts Center and as a grant panelist at the Boulder Arts Commission.
I have painted a silhouette running family, “a ready-made added” from the yellow highway caution signs into these found landscapes. These caution signs once appeared on the U. S. Mexico border, placed there to warn drivers to watch for running Mexican families or people crossing the roads. The landscapes presented here display a range of the U. S. soil painted by unknown individuals, from the mid-west to the southwest deserts. Having painted the running family into someone else’s landscape, I “illegally” place a representation of the Mexican into their Utopia. Therefore, by placing the running family into these landscapes I am documenting the undocumented. It is a document of the current and constant influx of Mexican immigrant into the United States. The Mexican immigrant is in every state of the Union. These people are sometimes shadows and faceless in our society. The hanging of the artwork, in the academic “salon style”, elevates the work in the status, as portraits and landscapes, of the Mexican migrant family.
(b. 1957, Denver, Colorado) Carlos Frésquez is inspired by cartoons, comic books and psychedelic posters. As a painter he loves bold colours. He uses his sense of humour to focus attention to critical issues and to poke fun. He was born in Denver, where he still resides. He received a B.A. from Metropolitan State University of Denver (1980) and an MFA from the University of Colorado Boulder (1995). Frésquez has lectured widely about Chicano art history and his own artwork at many colleges, universities, galleries, and art centers, and is currently a Professor at the Metropolitan State University of Denver. He has exhibited his drawings, sculptures, prints, installations, and paintings in at least 30 U.S. states and ten different countries. Frésquez’s work has been included in many regional and national touring exhibitions, including Arte Caliente (2005-2007), The Colorado Artist Fellowship Awards Exhibition (1997), The Chicano Codices; Encountering Art of the Americas (1992–1994), Chicano Aesthetics: Rasquachismo (1988-1989), and the ground-breaking exhibition featuring the work of 180 artists, Chicano Art: Resistance and Affirmation (1990–1993).
The yucca is a plant that is found in the desert. The yucca grows from a harsh terrain. The yucca was used to make medicine. The yucca has air cleaning properties.The yucca was used to construct sandals, ropes, and clothing. The yucca symbolizes transmutation, protection and purification. The yucca leaf is the sword of survival. The yucca has a story to tell.
Cherish Marquez (b.1989 El Paso, TX, USA) is Latina and Queer identifying. She spent her childhood in Sierra Blanca, TX, and adult life in Las Cruces, NM. Currently, she lives and works in Denver, Colorado. She holds a BA in Fine Arts and Creative Writing at the New Mexico State University and an MFA in Emergent Digital Practices from the University of Denver. She is an interdisciplinary artist with a focus on digital media. She has been an advocate for victims of sexual abuse and for people with disabilities. She fights against mental health stigma and is an active member of the Queer community. Her practice includes creating digital landscapes, 3D modeling, Animation, Sound Design, Wearable Technology, Creative Coding, and Photography. She is knowledgeable in programs such as Maya, Blender, Photoshop, InDesign, After Effects, Affinity Photo, Affinity Design, Unity, Unreal, Final Cut Pro, Divinci Resolve, Max MSP, Arduino, Processing, Spark AR, Substance Painter. She is currently an artist in residence at Redline Contemporary Art Center where she mentors students in the (E)ducation (P)artnership (I)nitiative for the (C)reative, aka EPIC Arts Program. She has shown her work in Ars Electronica Galley Spaces (Online), CADAF Contemporary & Digital Art Fair (Online), Social Distance Gallery (Online), RedLine Juried Exhibition at RedLine Contemporary Art Center (Denver, CO), Proud+, The Studio Door (San Fransico, CA), Coalesce && Object at the Vicky Myhren Gallery (Denver. CO), and OUTSIDERS at Leon Gallery (Denver, CO).
“GOOD THINGS COME TO THOSE WHO WAIT” is an anaglyph drawing representing a “symbolic immigration body map” chronicling the 24 years I have lived in America since first immigrating to Denver, Colorado in 1999. Using data art, mapping and performance, the 24 horizontal lines represent biographical responsive body movements to learned hardships from each year lived in marginal space. In homage to my love for cinema and the metaverse, the final piece can be experienced with 3D glasses. Viewers should first experience the art wearing the provided 3D glasses using both color lens then cover each eye and view the art through one color. The completed piece contains over 800 nude self portrait figures hand traced in red and blue ink; repetition as raising awareness.
Eriko Tsogo (she/her/they) is a Mongolian American multidisciplinary artist merging spectrums of visual art, esotericism, performance, social practice and media based in Brooklyn, New York. She is an alumni of Denver School of the Arts, having attained her B.F.A (2012) from the School of the Museum of Fine Arts Boston and Tufts University. Eriko grew up in Budapest, Hungary and immigrated to the United States with her family in 1999. Eriko has had numerous art exhibitions, curatorial and social practice projects, and art residencies throughout the United States. She has been the recipient of ACE Foundation Scholarship, “Juuh” Honorarium by the Mongolian Ministry of Education Culture and Science, Alliance for Artist Communities Fellowship, The Joan Mitchell Foundation Grant, and Colorado Creative Industries Artist Grant. From 2012 to 2021, Eriko worked as the Creative Director at the Mongolian Culture and Heritage Center of Colorado where she founded the “International Yurt Art Residency Program” in collaboration with Drala Mountain Center. She is the founder of Hilitehead LLC, a fine art and web based curatorial firm. Eriko has exhibited at the Currier Art Museum (2022), Contemporary Mongolian Art Biennial: Innovating Tradition in Washington DC (2019), Superfine Art Fair (2018), Art Basel Miami Beach (2019), and Saatchi’s The Other Art Fair in Brooklyn (2020, 2023), Los Angeles (2021) and Chicago (2021). Her animated short film “Tears of the Sky” has screened at the Colorado Dragon Film Festival and Philadelphia Asian American Film Festival. Eriko is the creator of “Mongovoo” interactive room at Meow Wolf Denver and “HERO5079” mural at Center for Visual Arts in Denver. She is represented by Tappan Collective out of Los Angeles.
The visual fractures of “Erosion” symbolize the gender disparities in Iran, highlighting the invisible borders that women face. While navigating their daily lives within the country, women are subjected to stringent gender-specific regulations, including dress codes and behavior, imposed by the regime’s power structure. When it comes to their ability to travel beyond the borders of their own homeland, the authority lies solely with a man; women must secure permission from a male figure, whether it be her husband or a male guardian.
As a woman filming in various cities across Iran, the very act of disrupting and altering the male gaze was empowering. The footage captured from ordinary scenes of public life were transformed into an ever-shifting geometric landscapes. The audio in “Erosion” is derived from a mashup of both the national anthems of the United States and Iran.
Laleh Mehran was born in Iran and relocated with her family to the United States at the start of the Iranian Islamic Revolution. Mehran creates elaborate environments in digital and physical spaces focused on complex intersections between politics, religion, and science. In a political climate in which certain views are increasingly suspect and can have extreme consequences, Mehran’s artworks are invitations to think again about each of these paradigms and the profound connections that bind them. Her research, often modeled on and about the very ideas of science and technology, takes advantage of their cultural importance in order to articulate a set of ideas which require precisely these kinds of mediations from both political and religious intolerance. Out of necessity, her artwork is as veiled as it is explicit, as personal as it is political and as critical as it is tolerant. Mehran received her MFA from Carnegie Mellon University. Her work has been shown individually and collaboratively in the USA and international venues including the ISEA (United Arab Emirates), National Taiwan Museum of Fine Arts (Taiwan), FILE (Brazil), ACT Festival (South Korea), Massachusetts Museum of Contemporary Art (Massachusetts), Mattress Factory Museum (Pennsylvania), Carnegie Museum of Art (Pennsylvania), Vanderbilt University (Tennessee), The Georgia Museum of Art (Georgia), The Andy Warhol Museum (Pennsylvania), Denver Art Museum (Colorado), Biennial of the Americas at the Museum of Contemporary Art Denver (Colorado), 404 International Festival of Art & Technology (Argentina), Next 5 Minutes 4 Tactical Media Festival (Netherlands), European Media Arts Festival (Germany), Boulder Museum of Contemporary Art (Colorado), Currents: The Santa Fe International New Media Festival (New Mexico), the Pittsburgh Biennial (Pennsylvania), and the Daniels & Fisher Clock Tower (Colorado). Mehran is a Professor in the Emergent Digital Practices program at the University of Denver.
Crossing the border of gender identity is a path that I navigate in the way I dress, act, and my personal interests. My colored pencil drawings and paper flowers represent this place between gender norms and are a safe space to explore the gamut of human expression. Drawings installed among paper pansy flowers cross the border of my two-dimensional and three-dimensional works, and the border of work I have presented with Pink Progression and with Athena Projects respectively. The title of the installation, Pansy Ass Sissy, incorporates words that were once used to shame me, but now empower me.
Louis Trujillo is an artist and curator born and working in Colorado. Identity is the recurring theme of inspiration for his artwork with explorations in gender expression, the unconscious, and family history. He received his B.F.A in drawing at Metropolitan State University of Denver where he was awarded the Nagel Art Thesis Grant and the Nagel Directed Studies Scholarship. He is a former member and PR Director of SYNC Gallery located in Denver’s Art District on Santa Fe. His artwork is part of national private collections. He is currently employed by Access Gallery as their Gallery Manager.
In my ongoing series, “Oriental Flavor”, I am examining cultural tropes and clichés, and questioning cross-cultural assumptions and expectations. The work is informed by the grocery store “ethnic” aisle, pop-culture, and traditional Asian arts and antiques. The name of the series – derived from the name of the product flavor on a package of instant ramen – poses the question, what is “oriental flavor” and what might a broad interpretation of the phrase reveal? Using a mostly lighthearted approach, I invite the viewer to consider how they navigate and define their own cultural borders and identities.
Margaret Kasahara is a visual artist who explores themes of personal and social identity. Her drawings, paintings, mixed media work, and installations have been exhibited regionally and nationally, including at the Berkshire Museum of Nature and Science (Pittsfield, MA), the Center for Visual Art (Denver, CO), the Denver Art Museum, the Gallery of Contemporary Art at the University of Colorado at Colorado Springs, the Harwood Museum (Taos, NM), and the Japanese American National Museum (Los Angeles, CA). Her work has been the subject of solo exhibitions at the Colorado Springs Fine Arts Center at Colorado College, the Denver Botanic Gardens, McNichols Civic Center (Denver, CO), and the Sangre de Cristo Arts Center (Pueblo, CO). She has been profiled in DARIA Magazine, The Denver Post, Kiva Magazine, Luxe Magazine, and the online magazine, Discover Nikkei. In 2020, Margaret was honored as a “Colorado Creative” by Denver’s Westword Magazine. Her work is in the permanent collection of the Colorado Springs Fine Arts Center at Colorado College. Margaret received a BFA degree from the Kansas City Art Institute in Kansas City, Missouri, where she graduated second in her class. She was born in New York City, raised in Boulder, Colorado, and currently lives and works in Colorado Springs. Margaret is represented by Michael Warren Contemporary in Denver, Colorado.
The sharing of one’s history promotes strong cultural connections and community building. These are key parts of my research and teaching. For this exhibit my print is about the land I grew up on, the Navajo Nation. I used images from an old history book, images from popular books and images from a birthday party kit to make this print that is layered with meaning that I feel speaks of our history on the Navajo Nation. It is a Nation with in a Nation and there are many borders that are seen and unseen.
As a printmaker, painter, and sculptor, Melanie Yazzie’s work draws upon her rich Diné (Navajo) cultural heritage. Her work follows the Diné dictum “walk in beauty” literally, creating beauty and harmony. As an artist, she works to serve as an agent of change by encouraging others to learn about social, cultural, and political phenomena shaping the contemporary lives of Native peoples in the United States and beyond. Her work incorporates both personal experiences as well as the events and symbols from Dine culture. Her work is informed and shaped by personal experiences. Ms. Yazzie uses her travels around the world to connect with other indigenous peoples. Her visits to New Zealand, the Arctic, the Pueblos in the Southwest, and to indigenous peoples of Russia, these travels have been the impetus for continued dialogue about Indigenous cultural practices, language, song, story-telling, and survival. Ms. Yazzie has exhibited widely, both in the United States and abroad. Her work is in the Museum of Art, Rhode Island School of Design, Print Collection, Providence, the Museum of Contemporary Native Art in Santa Fe, New Mexico, the Kennedy Museum of Art, Art Collection, Ohio University, Athens, Ohio, Rhodes University, Print Collection, Grahamstown, South Africa, to name a few. She has been reviewed in Focus Magazine, Santa Fe, the Los Angeles Times, New Zealand Herald, and she is mentioned in Printmaking in the Sun by Dan Welden and Pauline Muir and The Lure of the Local: Sense of Place in a Multi Centered Society by Lucy Lippard. She has had over 500 group and solo exhibitions combined. Yazzie makes prints, sculptures, paintings, and mixed media works. Her work can always be found at the Glenn Green Gallery in Santa Fe, New Mexico.
My work explores themes of struggle. Dense tangles of weeds and overgrowth serve as a metaphor for behaviors or personal attributes that we’d like to eliminate; however, like weeds in nature, they can be invasive, and if pulled out, often return. This cycle is represented by repeated elements, with grotesque figures playing out across dense thickets to suggest a questioning of human nature and identity. This individual piece considers the difficulty of crossing borders to exercise choice, while being constrained by a society and a past that scorns a choice that there was not control to make.
Melissa Furness’ work has been most influenced by her experiences of travel, which have included artist’s residencies around the world. Furness has participated in numerous international exhibitions, and was invited to exhibit work at the 2016 Kochi-Muziris Biennial in Kerala, India through A.I.R. Gallery of New York. The artist was awarded a competitive fellowship to participate in the 2015 Biennial of the Americans, through which she resided in Mexico City as an Art Ambassador and exhibited a major project produced based on these experiences. She is an active member of the Artnauts Collective, through which she exhibits small works in places of contention throughout the world, including the DMZ Museum in South Korea and other locations in order to draw attention to significant political, social and historical issues. She has also been a member of A.I.R. Gallery in Brooklyn as well as Pink Progression through which she has exhibited major works that have addressed feminist and gender issues. Through her various residency experiences, the artist has exhibited major works in Berkeley, California at the Vizivarosi and Keki Galleries and The Drawing Room HU in Budapest, Hungary and developed site specific projects in Mexico, Ireland, Italy and China. Furness’ work has been represented in the past by galleries in New York, Seattle, Palm Springs and Zurich leading up to her current representation with K Contemporary Art and Kiechel Fine Art galleries. Her work has been featured in numerous group and solo exhibitions as well and international art fairs in Seoul , Zurich, Cologne, Los Angeles, and Aspen. She has been featured in New American Paintings, Studio Visit Magazine, SeeAllThis Magazine, Klassik Magazine International, 303 Magazine, 5280 Magazine and others. Furness is currently a Professor of Art Practices at the University of Colorado Denver.
The title of this image is borrowed from Alice Walker’s definition of womanist, found in her 1982 publication In Search of Our Mothers’ Gardens: Womanist Prose.
The woman pictured is the color purple. She told the artist so while wearing a purple shirt and lavender nails, and sitting in her lilac-painted living room. As her fingers stroke her chin, signaling deep thought, the woman throws a piercing gaze inviting the viewer to listen to her wisdom. Scan the QR code to learn what it means to be Gwen in Denver.
This photograph is from “Black in Denver” (2018-2020), a portrait and interview series by the artist that features community members
Narkita Wiley is a multidisciplinary artist whose practice spans photography, textiles, text, and printmaking. Her community engagement projects, site-specific installations, and works on paper draw from the archive, oral traditions, contemporary Black narratives, and Black feminist theory. Her projects explore identity, healing, memory, and loss. She is interested in the nature of the human condition, entangling the political with the spiritual, and bending time in search of catharsis. She also spotlights the capacity of her materials, symbolism, color, and craft to create meaning. Her exhibition record includes Hausen Gallery (2023), Pratt Institute (2022), Museum of Contemporary Art, Denver (2021), BMoCA (2021), Colorado Photographic Arts Center (2021), among others. narkita is an NYU HEAR US 2022 fellow. She earned her BS in Public Relations, in 2010, and a MA in Art & Public Policy at New York University Tisch School of the Arts, in 2022. She is based in Brooklyn, NY.
My intention to collaborate with the exhibition of Crossing Borders is to show my perspective of borders as a mestizo artist , (mestizo meaning that my ancestry is a mix of indigenous and european, Kichwa/Muisca/Tayrona from Ecuador and Colombia and basque from Spain) the theme of crossing borders is relevant to my work and my identity. Borders in the Americas are a granted reality and enforced by countries and our modernity, but for indigenous ancestors this continent was not separated. For my ancestors the territory from patagonia to alaska was known as one continuous land called “Abya Yala” meaning land in its full maturity and is seen as territory that has caretakers and community instead of owners, plants and animals including humans are also seen as part of the territory that are intimately interconnected and belong to Allpamama (mother earth) and not the other way around. What colonization envisioned and started with the invention of borders is still affecting people and ecosystems all over our world. Indigenous people of the Americas consider borders to be unnatural and alienating, going hand by hand to the privatization of land and water.
I became interested in Art As a kid Because I loved wandering the streets of Caracas in Venezuela and looking at the street art and the graffitti, art museums and galleries. I felt that the city was very alive with real people and anything was possible, And I could literally see and hear the marks of the cultures in the murals, music , the food and politics.
My work traverses gaps of memory and identity as experienced between my Indian upbringing and as an immigrant to the United States. This work honors the streets of India and the past lives and aesthetics of humble everyday materials. I acknowledge the ever-present grit of the street, the starkness and inequity, cultural extremes, socio economic disparity, juxtaposing raw silk alongside strips of re-cycled inner tubes reminiscent of scrap collectors, sidewalk cobblers and bicycle repair stops which in turn echo the socio-political charge to colonial freedom fighters of resistance through simplicity and self-sufficiency, engaging contemporary conversation of culture and migration.
Sangeeta Reddy (b. 1955, Hyderabad, India) is a multi-disciplinary artist whose body of work is filtered through her first-generation immigrant experience, forever creating between two cultures in which Modernism’s legacies are engaged through abstraction and representation. Reddy studied English literature and philosophy at the University of Mumbai, India, and has completed 7 years of fine arts studies between the United States and India. She migrated to the United States in 1978, and currently lives and works in Denver, Colorado. Reddy has participated in solo and group exhibitions nationally and internationally, including exhibitions in Aspen, Denver, New York, Santa Fe, Sarajevo, New Delhi, Chennai, and Hyderabad.
These photographs from the Stephen H Hart Library at the History Museum show Colorado’s unique connection to the internment of Japanese Americans during WWII. Governer Ralph L Carr declared the state a sanctuary for those leaving the West Coast to avoid incarceration, but Amache, one of ten concentration camps, was also built in Granada, Colorado. The War Relocation Authority commissioned Tom Parker to document the camp, and I have combined his work with government data collected on the interned. The photos are also obscured by a fence motif, representing the literal borders of their unlawful imprisonment. Together, they encourage viewers to reevaluate history and to transcend insular beliefs taught to us by the oppressors.
I was born and raised in Colorado and received a BFA with honors from the University of Denver in 2014. My work revolves around the formation of identity and perception of history, particularly in relation to the immigrant experience. The internment of my Japanese-American family during World War II piqued my interest in the topics of ethnicity, nationality and the identity crises that occur when they conflict. Beginning with the use of personal resources such as photographs, objects and documents, my work has extended to the larger context of Japanese-American history by delving through government photographic archives and investigating the stories of nameless Japanese-American citizens. This has also led to an interest in the dissemination of history, and how it is manipulated and understood throughout time. Much of my work is done on Plexiglas, a material that allows me to layer several aspects of a subject while simultaneously delineating them physically between surfaces. This allows the viewer to focus on the individual facets, as well as step back and view the work as a whole. As my work progresses, I hope to address issues of identity and history that continually reach outward in an attempt to grasp a better understanding of human perception and experience.