top of page

Immerse yourself in the captivating visual narrative of Spectres, a thought-provoking series meticulously crafted to critique societal norms that commodify both humans and animals as resources for power or monetary gain. Through the juxtaposition of vibrant jacquard and velvet fabrics encased in opulent baroque frames, this collection elevates the pale, skulls of animals. Photographic imprints of human forms grace these stark, yet elegant, art nouveau canvases, forging a striking visual commentary. Here, the intersection of worldly decadence and deathly simplicity becomes a profound statement about the things we value in life and death.

Anchor 6
Vulnerable (scurs) hirez.png

Vulnerable (scurs)

Vulnerable (scurs) features a photograph of a nude woman curled amongst leaves, her arm covering herself as she stares directly out at the viewer.


The image is on a polled cow skull, polled, meaning that it is a cow whose horns have been removed through either selective breeding or physical means. Scurs are the bone fragments that are left from the polling process.


Both women and livestock are raised to have their natural defenses removed from them in order to accomodate an easier visual or literal consumption by society. Whether it is removing the horns from a cow, or raising girls not to speak up, cause scenes or act out when they are provoked, our culture sets standards for acceptance and approval based on how amicable an experience it is to go from introduction to the complete devouring of anything considered lesser than man.

Anchor 7
Declawed and Domesticated (puss) - [SOLD]

As a woman, I've noticed this societal and cultural comparison between females and felines. Whether the stereotypical Halloween costume, or references to female anatomy, females are frequently told they should be desirable in the same way that a domesticated cat is.


Independent, but always looking to ultimately be provided for by others. Just like many declaw their cats without understanding the damage of removing the equivalent of the ends of human fingers, the aggressive ends of women have been removed because it suits the patriarchy better.

The symbolism of having a bell on a ribbon around the neck of the woman in the photo can likewise be compared to that of many cartoon cats - after all, bows are some of the only tools cartoons give us to tell male cats from female cats. Bows are considered not only feminine artifacts though, but symbols of ownership, especially when worn as collars. And bells not only inform of ownership, but of the control of providing an owner where his domesticated pet is.


The make-up of the model in the photo is feline-inspired as well - a look that has persisted to implicate sexual appeal. There are many slang words for a woman's genitals which include feline references, and many English adjectives describe both women and cats in pop-culture and common conversations.


"Sleek body, graceful movements, and bright eyed-and adorable...even if a bit temperamental."


Did I just describe a domesticated house cat or a domesticated housewife?



Anchor 9
Michael Vick - [SOLD]

This piece stands as a poignant social and political commentary on the disturbing glamorization of dog fighting—an industry erroneously glorified as a quick route to wealth, a ruthless form of entertainment, and a display of power. Beneath this facade lies a brutal reality, marked by grievous injuries and the tragic loss of innocent lives.

Upon initial observation, the enigmatic gray area on the dog skull prompts curiosity. A closer inspection, especially from the side, unveils a stark image—a pin-up model splayed across the canine canvas. This representation encapsulates the insidious allure of the sport, particularly among men, shedding light on the unsettling aestheticization of a cruel and harmful practice.

To contribute to the fight against dog fighting, 20% of the sales from "Michael Vick" were directed to World Animal Protection—an organization dedicated to ending the suffering of animals ensnared in the clutches of this inhumane activity.

This piece challenges viewers to confront the uncomfortable truth behind the veneer of allure, urging reflection on the ethical implications of activities that exact such a heavy toll on the voiceless inhabitants of our shared world.

Anchor 8
Is It a Sin to Touch a Dead Pig Skin? - [SOLD]

Amidst the jubilation surrounding the Superbowl, a dark underbelly persists—the event has unwittingly become the largest human trafficking magnet in the nation. This piece delves into the uncomfortable truth that the men and wealth drawn to the spectacle inadvertently fuel a sinister inevitability for victims of sex trafficking, transported across the nation to be present during these games.

A symbolic narrative unfolds as a woman stretches across the top of a pig skull, contorting in discomfort as she reaches for something just beyond her grasp. Her opposing leg strategically placed at the bottom of the skull seemingly guards against an unseen force, embodying the struggle against the blows dealt by the trafficking industry.

"Is It a Sin to Touch a Dead Pig's Skin?" invites contemplation on the dichotomy between the exuberant celebration of football and the shadows it casts on the lives ensnared in the web of human trafficking. It's a visual commentary on the societal costs hidden beneath the glamour of one of America's most celebrated events—a somber reminder of the unseen toll exacted for the thrill of the game.

Anchor 10
Mortis Vanitas

Mortis Vanitas is an exploration into the intricate dance between life and death, using the cunning coyote as a canvas for storytelling. As a symbol of intelligence and trickery, the taxidermy coyote shoulder mount becomes a vessel for narrative complexity. The juxtaposition of its natural fur, cascading from the base to the face, unveils a paradoxical scene.

At first glance, the exposed skull atop the coyote bears a mysterious photograph, a subtle trick played on the viewer. The contorted figure within is human, yet elusively veiled, demanding a second look. Mortis Vanitas challenges perceptions, inviting contemplation on the duality of trickery and truth. As the coyote, a wily trickster in folklore, carries the weight of the enigmatic image, the piece becomes a meditation on the intelligence inherent in both nature and artistry.

In this convergence of the natural and the manipulated, Mortis Vanitas prompts reflection on the unpredictable nature of life, the elusive truths that lie beneath the surface, and the timeless dance of mortality.

bottom of page