Birds 2014

Video Installation
13 Min
Projector & Directional Speakers

Photographic documentation & clip above

Birds is a video projected up into the ceiling corner of a room and accompanied by directional speakers that provide a sound component. In Birds, the dissected moving image folds the footage warping content and accentuates the peripheral surrounding. The manipulation of video into the sculptural form has become a common motif within the artist's practice.

The projection placement couples with the room's geometry and unique angles, to dissever the subject matter by playing with potentialities of creases and turns as it emphasizing the videos minimal architecture. By highlighting these intersections, a stage is carved out of the seams and edges of the exhibition space, exposing the unnoticed architectural nuance, and practical elements found in the footage itself.

The installation video depicts the artist in a contemplative exchange with three songbirds and a set of minimalist props in a bunker-like space. The footage reveals the artist in rapture with songbirds caught in her hands. This invocation is animistic and explores the spiritual significance of the tiny beings. These songbirds share features vocally in the way in which they produce their songs. Most of the acoustical differences, which they achieve, are due to the region and parameter of space where they operate. Their sounds become different in different areas; therefore, the chamber environment in which the birds are recorded captures their unique choir within the space. Their songs echo throughout the installation via directional speakers.

bobby and bailey

Bobby and Bailey 2015

Video Installation
23 min
Installation materials:
Artifact from installation,
photographs, video

Photographic documentation & clip above
Photography 2,3,6 Gillian Steiner

Bobby and Bailey is a video capturing a portrait of two strangers in a candid discussion. The duo, Bobby Andres, and Bailey Styles cover various topics like puberty, the language of gender identity, sexuality, all on camera in a testimonial fashion. The artist stages an installation in a pink neon-lit disheveled bedroom, producing an energy of abandonment while conversation between the two ensues on a mattress in mess of trash, flowers, and glitter.

Between the pair, the conversation is at times blithe speaking about shopping, materialism, consequences of capitalism. At other moments, their dialogue is pensive, presenting an intimate and spontaneous unpacking of issues like - gender perceptions, visibility, to be trans-identifying in sociality gaze. As their ideas and reflection hashes out an examination on crudity, detachment, and the isolation that occurs when faced in the world outside imagination.

The camera position references a 1990s nostalgia for popular MTV shows like The Real World which depicted contemporary issues on people's minds. Capturing from a point of unobtrusive observation, the footage focuses on documenting the emotional rawness of the participants while noting to the period "When people stop being polite... and start getting real..."

dont ask dont tell

Dont Ask Dont Tell 2014

Video Installation
9 min
Exhibition: Lonely Girl
Martos Gallery, New York, NY 2014

Photographic documentation & clip above

Dont Ask Dont Tell is a video portraying two masked individuals weaving into each other's limbs in a forest clearing at nightfall. What are they doing there? Their actions and identities are as anonymous as the voice that speaks over their movement. The two figures are presented with their faces concealed and exposing their bare skin, revealing juxtaposition between, innate separateness from society, and yet, a deep-rooted sense of togetherness by belonging to each other.

The camera is set back at a distance from the scene, lit by the light of dust, and investigates human bodies touch. The raw choreography of entangled limbs offers viewers moments of voyeurism or another way to perceive something that one might consider erotic. Their mysterious partnership is both a peak and shadow into the unfolding of a vision of positioning form set intimately in outdoor space. Thus being isolated in such a way, the duo is presented as though they are not meant to be seen or known, as though they are invisible. Legs and neck, the bare skin in the dirt, appendages entangled, we arrive at a curious tenderness but a brutal question, what does this untypical embraced force us to consider.

The film accompanied by a poetic soundtrack that features vocals by Dan Bodan. The soundtrack is written by much like a daydream, includes the artist's vocals and speaks to topics such as the restrainment of bodies, bombs, chemicals.

Club Fish Soda 2014

Installation materials
Porcelain, acrylic, cowskin, plastic, fabric, cornichons, peppers, garlic, flowers, granite, metal, paint, found objects, hand-written texts

Exhibition: La Usurpadora
Abrazo Interno Gallery, New York, NY 2014

Photographic documentation above

Club Fish Soda is an installation consisting of several sculptures, and photographs made from various materials such as rock, dried animal skin, food, plastic, ceramic, resin, fabric, and latex.

In Puerto Rico, there is a tradition of marking history with a symbolic object in the material world as a reference point for a significant occurrence or a transformation of identity.

As an act of remembrance, these types of tokens are gifted out of endearment. You can find these objects in most homes of the Borinquen, typically made of porcelain and paper flowers. The figurines become highly integrated into everyday space and always admired. They stand to commemorate the significant, providing a reflection of the past that reminds us of who we are.

Club Fish Soda is an appreciation of a craft practice, native to the island that pays homage to the Caribbean and Afro-Caribbean deities of the artist's ancestry. The sculptures embody the spirit of divination by expressing a celebration, nostalgia, and cultural erasure through assemblage.


Max 2013

Video Installation
Projector & Glass panel
Exhibition: Interface
FJORD Gallery, Philadelphia, PA 2015

Photographic documentation & clip above
Photography, Sarah Coote

Max is an installation consisting of video that uses light abstractions layered over the human figure in an expressionist composite. Cradled between colors dialogue obscures forming moments of fragility against the glass plate on which footage is projected. Playing in darkness on an upright partially frosted piece of glass wherein the silhouette of the video floats out beyond the glass plate edges.

Within the sequence, the fusing separated layers and shots of the head and bust, brew moments of portraiture that show a capturing of beneficent vibrations. The artist's figure illustrates the form as a surface for drama and connection by coupling her partially exposed skin with rhythms curving light that actualize the body in a haze of monochromatic color. The animated fractals morph space and act as elements in a repertoire of jiggling movement in this surreal presentation of experiencing MAX, the state of revealing the physical presence of the self as a phenomenon.


Send, 2017

Video installation
Glass, Screen, Wire, Dirt
25 min

Evolutionary Urge (Virtual/Digital) Navel, Los Angeles, CA

Send is a video installation placed on the floor wherein a looped video plays on a screen underneath a dry soil covered piece of glass. Alongside the glass panel - carbon fiber wires spell out the phrase “Send” in a merged script. The video shows the artist filmed outside illustrating a sequence of words onto the same soil covered glass panel, just to cover it up again with soil making her written text disappear. The video footage is partially obscured by the dirt as she creates a repertoire of textual gestures that accumulate into a poem. In silence, a text appears through soft wet earth activating the space transient by finger-painting the invisible words.

o v a

O V A 2018

40 min
Exhibition: Anti Bodies
curated by Topical Cream, MoMA PS1 2018

Photographic documentation above
Photography courtesy of the artists,
Walter Wlodarczyk, and MoMA PS1
Spoken text below


O V A is a collaboration between Analisa Teachworth and Jonas Wendelin including three performers and three young goats. O V A stages a contemporary ethical discussion referencing the artificial fertilization of a cell, implying a current and future co-dependence, questioning genetic technologies and the latent effects.

Within the performance O V A a trio of performers and goats, situated in the center of Moma PS1’s geodesic dome, traverse an oral narrative written by the artist on the artificial manipulation which humans, bring upon themselves and the surrounding world. Performers orbit a ceramic installation by Wendelin, while reading from the projected dialogue in a microcosm of darkness. The domes round interior lead audience and architecture to foster a relationship between the space as an atmosphere of the embryonic and audience as the membrane.

The ever-present, increasingly vast, manipulation of nature is synonymous with modern science, human development, and innovation itself. The alteration of matter and its consequence is producing a wellspring of new tech that now enters the capitalist sphere as products. But far beyond modified plants or vegetable, biotechnology like CRISPR advance in genome editing and companies like Viagen Pet's specialize in cloning your beloved pet after death, the next step in facilitating essential endless life.

Within the piece, each performer's specific set of dialogue crafts an interlacing conceptual narrative on related topics, such as degeneration, scale, re-birth, delivering a mash-up of critique and allegory. Their projected text fragments, spring from the vantage point of elsewhere, being atomized, belonging to neither the past or future within the continuum of so-called advance.

The goats in this piece represent the voice of the other by solely being present as well as creating an iconic image remaining conjoined by a double-sided leash to each person. We investigate the domestication of ourselves by the domestication of the other and the attached responsibility that comes along with young anthropogenic awareness. In this sense, the goats and their relationship to man become a fundamental junction from which we can explore the transformation of the dome architecture into a cell and the critical magnifying of interdependent relationships through the elements - water, animal, human, earth-ware, plastic.

Included performers: Kellian Delice, Cara Diaz, Analisa Teachworth

dependency demographics

Dependency Demographics 2017

1 hour
Exhibition: Festival of Future Nows
Hamburger Bahnhof Museum, DE 2017

Photographic documentation above
Photography, Jonas Wendelin
PDF / Soundtracks below







Dependency Demographics is a performance and installation progressing through Hamburger Bahnhof originating outside the back of the museum and concluding in the front garden. Occurring twice within this space, one cycle of the performance spans the entirety of the main hall.

Dependency Demographics is a collaboration with Jonas Wendelin which reappropriated a past performance of Teachworth’s titled Cultural Shock, wherein a cell phone with 3D rendered video of the performers face appears taped to the head. A company of five performers with the digital embodiment migrate two aluminum architectures (travois) transporting a multitude of blue ceramic vessels by Wendelin through Hamburger Bahnhof Museum. Their journey presents a nomadic choreographed performance and installation depicting a fictional, forthcoming yet prehistoric narrative of geopolitical trajectories.

When placed in a public context the element of the cellular device adhered to the skull functions as both a visual and audio mechanism, describing the narrative of each character story as well as chorographical guidance to the performer and surrounding audience members. The gesture of forcibly tapping the device on the head causes limited visibility, reconfiguring natural body language and inhibiting the performer to use sight as a guide. Over the course of one hour, 5 performers are each responsible for the observance of their own unique states listed as follows -


The performer's fictional digital testimonies were written by Teachworth and created with each performer. Projections of disembodied heads were enlarged on the walls, laughing. Texts are fragmented with personal lyric and recorded interviews, at times synced by collective laughter and shared a dialogue on past/future realities and the relationship between a bodily experience and the social experience of technology.

The troupe has a choreographed pathway with the architecture's, but once a camp is set a concoction referred to as The Colony is prepared and offered to the audience to consume. The Colony is an unidentifiable white liquid blend of flavor and texture invented by Wendelin and Teachworth.

Included performers: Spencer Seblan, Katrice Dustin, Daniela Schmidtke, Jonas Wendelin, Kathrin Messerschmidt

cultural shock

Culture Shock 2017

15 min
Exhibition: Making some words
Changes Gallery, New York, NY 2017

Photographic documentation above
Photography, Harry Hughes

Sound file below


Cultural Shock is a performance in which the artist enacts a fictive monologue via a cell phone taped to her face, reframing the human form into a digital installation. Transparent duct tape adheres the device to the performer's head exhibiting a reappropriation of the phones use, as a tool for communication. A reconfiguration of the device presents the interface as a space for psychological investigation and public presentation.

The attached cellular device should be viewed as a future prosthetic as the eyes of the performer are taped shut, essentially being blindly instructed by the new alternate crude demanding body part. The taping of the skull is fragile and aggressively violent examining the materiality of the skin, hair, and facial features exposing the vulnerability flesh beneath.

On the phone, a video animation of the performers 3D-rendered face describes a dystopian tale assuming the role of storyteller to the audience. The embodied digital persona affixed to the head articulates dialogue and physical actions dominating over the human carrier as an insignia of our current place with technology. In Cultural Shock, the digital identity instigates an intimate interaction with audience members by getting unsettlingly close and commands the body into lowering physical acts such as kneeling, crawling, and peeling oranges that are handed out for consumption.

conjure migration

Conjure Migration 2016

35 min
Exhibition: Berlin Biennale 9
Kunst-Werke Institute for Contemporary Art, DE 2016

Photographic documentation and
Video components above
Photography, Maansi Jain
PDF / Soundtracks below






Conjure Migration is a performance occurring on a cruise boat traveling down the Spree river through Berlin's city center as part of the performative program of The Berlin Biennale 9.

Upon entering the ship, each audience member receives a detachable cotton polo shirt collar designed in collaboration with designer Telfar. The collars come in four colors: black, green, orange, and lavender. The four colors represent four fictive characters. By wearing the collar around the neck, each participant is visually acknowledged as their color persona while the entire audience collectively transforms into a unified group identity.

Boundaries between performers and audience are lost by the mandatory mutual wearing of the collar accessory. The act of being collared and labeled implies ownership and designates the characters described below. Each character's story is told in the following consecutive order during the performance.

Black - Slave
Green - Developer
Orange - No one
Lavender - Freelancer

During the performance, four performers and the artist, enact choreography on stage. One by one the four staged performers assist the artist in migrating her multifaceted character titled, The Conjuror from each color's fictive story to the next. The choreography they employ examines autonomy within the transformation: Positions like forced actions, wandering, aggression, and passivity, movements that reenact and reclaim lost the history of the characters.

As the performers unpeel the different layers of masks and shirts from the conjuror's figure and the eventual shedding gestures leave all four colors stories told through the narratives expressed in a soundtrack played concurrently. A verbal score made up of the artists transformed vocals created in collaboration with Aaron David Ross narrates the four characters interpretative journeys identifying each color with distinctly different tone.

Included performers: Claudio Campo Garcia, Tarren Johnson, Kat Hernandez, Hrefna Hörn Leifsdóttir


Unwrapped 2014

Exhibiton: Art Basel Miami, Art Fair Miami, FL 2014

Photographic documentation & clip above
Photography, Naomi Fisher

Unwrapped is a performance where the artist's body presented in front an audience entirely tied up in a multitude of white ribbons that extend from head to toe. The release of the physical form requires the act of un-tying the fabric from selected audience members by hand and illustrating intervention from confinement. The audience members unravel the ribbon at their discretion ultimately revealing the entire surface of the body. This was a live-streamed performance that could be seen in real time.

The artist restrained form is a tedious presentation that entirely crumbles as the undertaking ensues over the course of an undefined amount of time, be it however long it takes for audience members to execute the unraveling in totality. The 2-inch area surrounding the human form is transformed into haptic space and the figure is metamorphosed in a pillar for collective movement. Knot by knot, tie by tie, with each active gesture of undoing, the fabrics hold decays embedding choice within the crowd and illustrating intervention that becomes a unifying un-capturing the human form.

technological trust offer

Technological Trust Offer 2013

Exhibition: Blasting Voice
Suzanne Geiss Gallery, New York, NY 2013

Photographic documentation & clip above
Photography, Todd Weinstein



Technological Trust Offer is a performative work that integrates several elements such as video projection, conversational dialogue, and sculpture into one performance. The artist is presented on a stage conversing with a scripted algorithm, a chatbot that impersonates human perception on the nature of its understanding of human emotions like empathy, and death.

The development of this narrative over time questions the ethics of our technology and futures of labor. Simultaneously a video is projected wherein the artist’s body is entirely covered in plastic seated on the roof of a building ostensibly disrupting the colloquy of painting and stage lighting. The transparent sheeting covers the whole head/body indicative of a suffocation or death encounter where one might experience shifting between states.

During the discussion with the digital consciousness, the artist builds sculptures composed of white flowers and glass water bottles spraying them with a cemented spray paint that hardens. The spontaneous bouquets visualize ephemerality, decay process, and change in all material. This performative gesture illustrates transformative deliberated alchemy. These sculptural floral arrangements they become forever preserved, shielded from the procession of time while the conversation references the subject matter discussed with the bot. The sculptures are then handed out to the audience to keep.

battle against inertia

Battle Against Inertia 2012

Exhibition: Four minutes, thirty-three seconds
Legal Art Space, Miami FL 2012

Photographic documentation above
Photography, Kerry McLaney

Battle Against Inertia is a performance where the artist is hanging from the ceiling engaged in the act of public suspension by a harness device of her contrivance. To battle against inertia is a protest against the inability to move. Over the course of time held in an elevated position, the artist reaches the point of unconsciousness unbeknownst to the audience and is taken down after a defined amount of public observation focused on the hung figure has occurred.

An unspoken rapport takes place with the viewers who witness. The contemplation and the uncertainty of why the body is hung is a simulation reflection on the human fascination over the spectacle of viewing the body in a state of suspense. In this sense, the gesture alludes to the historical act of a hanging, wherein the public witness a form that will never activate or experience again as it no longer holds life. This gesture calls on the point in time that depicts the pacified moment of stillness that remains hanging after energy has been separated from the physical form.

endless movement

Endless Movement 2016 & 2012


Exhibition: Like New Landscape
Pablo's Birthday Gallery, New York, NY 2014

Photo stills above

Endless Movement is a website displaying multiple videos that endlessly loop with a score by Arca, comprised of the artist's vocals. The site continuously plays the footage regardless of a viewer's presence negating focus on the progression of linear time. In the absence of a marked beginning or end, a user can arrive at any point in within the sequence of footage. The eternal channel transforms the site into space for contemplation and a practice of cyclical exercise.

One section shows the artist on a mound of minerals engaged in multiple forms of choreography with a chair, investigating positions and the object's placement/function on the ambiguous amassed pile. Another section of footage subsequently revisits the same site three years later with the artist, a new chair and the addition of a new figure, Jonas Wendelin who is seen similarly wandering through the landscape in similar choreography. The footage holds an endless renegotiation of the container's physical topography. As a meditation Endless Movement recounts things which happened, which almost happened, which were and could have been; it is a testament to the trillions of possible pasts and futures for as long as it's online and has viewership.

basic being

Basic Being 2014


Exhibition: A New Domain
Suzanne Geiss Gallery, New York, NY 2014

Photo still above

Basic Being is a website depicting a 360 degree - 6 sided rotating cube with various video surfaces displayed on each side. The point of view for the user is placed in the center of the cube with verticals that can be moved into different arrangements. The user can shift the space with the cursor in any direction, turning multiple vantage points of the cube presents a rearrangement of the composition of moving image while inside the site.

One view of the footage captures adolescence girls standing in formation on the shore looking toward the horizon in a post-pubescent transformative stare. Within this moment of wonderment, there is an acknowledgment, a happening of both passivity, and adventure, in the act of throwing rocks. Other views of the virtual landscape depict a dissection of the sea waves ripping at the ground beneath. Within this specific work and the artist's practice, there is a running theme of manipulating video into a sculptural form by transforming space into something flexible and multi-dimensional.

Merge 2014


Exhibition: Zero One
Stream Gallery, Brooklyn, New York 2014

Photo stills and clip above
Advised use of headphones

Merge is an interactive website presenting a portrait of the artist. A beam of light follows the movement of the cursor, luminously highlighting the figure in an ominous bedroom scene forming a correlative relationship between the user and the subject matter. The user is allowed a glimpse into a highly personal experience accompanied by an intense soundtrack that builds notes of chaotic interruption.

In the absence of language, the site captures the artist's observation between the thinness of unseen and perceived. While the beam of light emanates from the point of focus, the anarchical sound imbues progressing into an élan of heavy breathing, screams, and hums in the amalgam of this violent composition. The soundtrack that completes this website is extremely confronting and can be very loud, advised use of headphones for an intimate experience.

secrets and lies, 2017

cogintive synergy

Cognitive Synergy 2012

Performance & Website

Exhibition 1: Next Time One Already
Triskelion Arts, Brooklyn NY 2012

Exhibition 2: Next Time Two Almost
Whitebox Art Center, New York NY 2012

Photo stills & clip above

Cognitive Synergy is a performance spanning the duration of multiple exhibitions. Over a period of 34 days, commencing at the show - Next Time One Already, and concluding at a second show - Next Time Two Almost, Cognitive Synergy ensued. This performance signified a process of observance and analysis of the cognitive foundations upon which we are built.

The act of performing was defined by a ritualistic documentation of the self that took rigorous record of the artist's life experiences in totality - thoughts, routines, meals, movements, sleep, self-realized experiments, etc. The objective of the record taking was to reach a synergy the elements- obscurity, urges, automation, order vs randomness. After a month of performing the by-products were organized, condensed, and reconstructed into personal artifact and displayed on a website. Questioning how privacy impacts the psyche under a shared media existence, a myriad of digital tools like Twitter were habitually used to record detailed accounts of said experience, producing a flow of conversation and connected web of information that culminated. The site contains links, videos, and a cylindrical poem (operated to move by the horizontal arrow cursors self-published on

This type self-archaeology generated data, and a state which artists defined as, Existing Self - The human as a feed. Existing Self, the twitter account recorded cognition that was accessible to its audience/followers in real time. This continuous stream of information could not be separated from the flow of time while the performance was in procession. What remains is an extensive collection and preservation intimate and banal personal information from within the time period. Forcing the self to process and share thoughts/actions publicly was an inner excavation revealing self-desires, motivations, abundant emotion, and the unexpected.

Jump 2012


Photo stills above

Jump is a website containing footage of a landscape near the artist's place of birth frequently revisited. A sentence “Such a state of things cannot always exist” runs underneath the video illustrating the moment in which we presently live in is a singular now. The development of memory of action within the site signifies the impermanence of surrounding lending perspective on fleeting nature.

A narrative breaks the footage into three parts. Jump examines the environment as it was then, a day in 2012. Clouds streaming across the sky, water, forest, the act of swimming are only able to experience on that day within this delicate ecosystem and singular moment of time. This site stands a stewardship for developing a more profound relationship with the capricious elements lost in futures to come.

all that she wants

All That She Wants 2016

Short film
Mexico City, Mexico



The Fader…


All that she wants is a short film written and directed by the artist with a musical score that incorporates a covered version of the 1992 Ace of Base song, All that she wants, by musician Lafawndah.

‘All that she wants’ is the reinterpretation of an already familiar song. The short film portrays the journey of a person who finds themselves becoming alive again. This enigmatic tale describes a situation where one might be dead or perhaps even both alive and dead at the same time. The portrayal of the main character is a particular journey and an allegory of reclamation and the processing awakening.

Nameless, the main character played by writer and artist Masumi Rioja arises from underground and pushes against the portrayal of assigned gender roles and stereotypical tropes, crafting a new archetype both hero and heroine. The narrative sparsely speckled with subtitles forms moments filled with sorrow, and loneliness but ultimately speaks to the glamor of autonomy and a perseverance of the right to be one's true self under any consequence.

By re-framing the question, what is... All that she wants? There is an attempt to reconfigure the notions of what's asked and expected of us through the twisted rebirth tale. Encounters blur, underlying social concepts relating to interpersonal relationships and their meanings are tangled. Through visual language, the film aims to capture and rediscover representation of those who live nonconformist identities while paying homage to displaced individuals who, for many reasons, have marginalized personal histories.

Score: Lafawndah
Cast: Masumi Rioja, Roberto Sanchez, Bree Zucker, Manolo Lira, Oscar Trevino, Tomas Sanchez
DP: Maria Tejeda / EP: Juan Villarreal

prints and various







The creation of prints, drawings, and works on paper have been a consistent part of the artist's practice as she holds a BFA in printmaking/typographical design. These works often embedded with language present figurative storytelling using a myriad of techniques such as screen printing, drawing, etching, and photography.

The creation of visual imagery coupled with the process of bookmaking illustrates a substantial relationship between writing and the textual image. The letterpress prints hint on periods in time and become records of personal history that also happen to be graceful objects. You will also find research on the sculptural form using various materials such as glass, resin, plastic, and natural materials.

battery life on dis Images, 2017