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Blue, installation, 2018
Blue is an installation of 8 pieces arranged along three adjoining white walls. Blue Line is a thin blue chalk line 68 inches up from the ground running across the entire length of the walls, approximately 29 feet. All the other works are hung below this line. The pieces are described from left to right.
On the left wall there are two pieces. Blue Ramp which is a 4 inch tall ramp that is 38 inches wide and 48 inches long on the floor. It is made from cardboard and foam, wrapped with printed paper. The image on the paper is of an underwater scene from the perspective looking up towards the surface of the water. Blue Tape is a square canvas 48 inches by 48 inches, covered completely with white acrylic paint and de-stretched, so that instead of being stretched tight around a wooden stretcher bar frame, it has been taken off the frame and is floppy. Blue painters tape is woven together in a basic over under pattern on the top left corner of the painting. The ends of the tape extend to the wall and are helping to hold the canvas to the wall.
On the middle wall there is one piece: Blue Tile which is a long 72 inch by 28 inch acrylic painting of dozens of small rectangular blue tiles with white grout surrounding them. There is painted water on the bottom, the tiles viewed through this depicted as wavy and distorted. The painting is hung less than 1 inch above the waxed grey vinyl-tiled floor, so that the floor reflects the painting, similar to how water reflects things on its surface.
The back wall does not meet the right wall in a single concave corner. Instead there is square column about 6 inches by 6 inches in the corner. You might experience it like this: the back wall leads to a concave corner, then there is a short 6 inch wall, then a convex corner, then another 6 inch wall, and then a final concave corner leading to the right most wall. In this corner two pieces are arranged. Blue Stair consists of two wooden stair stringers touching the floor and against the walls. They each have 5 stairs, and are 60 inches tall and 34 inches wide. They are both painted light blue, and spackle was used at their bases to create a rough uneven surface that mimics the surface of the wall. One stair stringer is in the first concave corner along the back wall, and the other is in the second concave corner along the right wall. The stair stringer on the back wall is flipped so that the stairs are facing down and the top forms a smooth angled ramp. The stair stringer on the right wall has the stairs right-side up. The second piece in the corner is Blue Tape, which is strips of 1 inch wide blue tape with small white arrows printed on it. The strips of tape are staggered and arranged on the small 6 inch wall sections with the arrows pointing towards the convex corner. The piece is 5 inches wide and 32 inches tall.
On the right wall there are two pieces: Blue Towel which consists of two grab bars on the wall with towels hung over them. One grab bar is hung about 3 feet above the ground and the second grab bar is roughly 1 foot above it, parallel but slightly to the left. Hung on the grab bars are 4 white towels of differing sizes. The biggest bath towel is hung from the bottom bar and touches the floor. The bottom of the towel is painted blue with ink as if it is wet. The other towels are hung from the top bar. There is a slightly smaller bath towel, then a hand towel over it, and finally a washcloth on top. The whole piece is 42 inches wide by 61 inches tall. Blue Print is a piece directly on the wall to the right of Blue Towel. It consists of blue handprint marks that were created when I used the wall to hold onto as I rounded the corner while in my wheelchair. The marks are 8 inches tall and 17 inches wide.
Reach New Heights 1 and 2, diptych, 2017
Two rectangular acrylic paintings 38 inches wide and 48 inches tall hung next to each other. The left painting, Reach New Heights 1, depicts a pale-skinned woman in a manual wheelchair near a pool. Behind her, there are long leg braces, a striped towel, and an arm crutch leaning on a bench. The painted part of the canvas ends in an irregular, uneven line about 40 inches up from the bottom, with the top 8 inches left as raw, unprimed and unpainted canvas. The right painting, Reach New Heights 2, has this same irregular line with raw canvas above it, but the division between the painted and unpainted parts happens about 20 inches up from the bottom. The right painting depicts the same woman getting out the pool with her back towards us. She is only painted from below her shoulder blades and above her thighs. Her hands are on the edge of the pool, lifting her body out the water. The bottom part of her wheelchair is visible on the pool deck in front of her. The two paintings are hung staggered next to each so that the ragged lines and unpainted raw canvas parts line up.
Signs and Symptoms, series, 2017
Signs and Symptoms is three works all on wood. Hyper-Invisibility is a large rectangular piece of wood 48 inches wide and 72 inches tall, on the floor and leaning against a wall. It is nearly completely covered with a painted blue rectangle surrounded by a thin white border and rounded corners. It is based on the design of an accessible parking sign but instead of the international symbol for access, which is a white stylized image of a person sitting in a wheelchair, in the center, the painting is blank. The proportions are such that I or another wheelchair-user, could appear to take the place of the symbol when sitting in front of the painting. To See and Be Seen is a round wooden dowel 2 inches in diameter and 48 inches tall, also leaning against a wall. On one side of the dowel there is a painting of a white cane with red-bottom, black hand strap, and metal-glide tip. On the other side is a painting of a neon-orange visibility flag attached to a long pole with bracket at the bottom, that would be used to attach it to a wheelchair. Out on the Street is a small rectangular piece of wood 36 inches wide and 24 inches tall with a painted image of a tattered piece of cardboard.
Help Less, print, 2018
This is a piece of blue paper 7 and a half inches by 11 inches with rounded corners. It is part of an edition of 20 prints that were made using a Letterpress. The word helpless is printed so that help is stacked above less. The word is printed three times, each layer printed slightly below and to the right of the layer behind it. There are two layers that are shades of blue and the top layer is white.
Take: a joke, one-page book, 2018
This is a one-page book that is made from a single sheet of 8 and a half by eleven printer paper. It was designed and printed on the computer. Each page is designed based on different road symbols and parking signs. The cover says the title, Take: a joke. The text on the following pages is Women are like parking spaces - all the good ones are taken, so once in a while when no one’s looking, you just gotta stick it in a disabled one. When you unfold the book one side of the paper has a page from a research study titled: The association between disability and intimate partner violence in the United States authored by Matthew J. Breiding and Brian S. Armour. Here is a link to the full article https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4692458/.
Specially-abled, collage, 2018
This is two identical pieces, 3 inches wide and 7 inches tall. Each one is a dimensional blue paper collage resembling scrapbook stickers. They read Specially-abled in italic gold lettering. Red gems are on the corners of the collages The collages are in packaging repurposed from actual sticker brand Jolee’s Boutique.
#LifeAfterExchange promo, 2017
Graphic design in the style of a old-fashioned postcard. In the top right corner is a plane carrying a banner reading Greetings from Travelers. Below that is large block letters is the word Abroad. Inside each letter is a photo of a traveler with a disability. Below abroad the banner continues and reads life after exchange. U.S. State Department and MIUSA logos are on the bottom of the image, along with text that reads The National Clearinghouse on Disability and Exchange is project sponsored by the U.S. Department of State's Bureau of Educational and Cultural Affairs ECA, and administered by MIUSA.
#AccessLanguages promo, 2017
Graphic illustration of five seated individuals with various brown and beige skin tones, immersed in reading language books or conversation. One figure reads from a book labeled English. Another has a white cane folded at their feet and accesses their text via a tablet with headphones. A couple read from an ASL book and sign with each other. The last person is seated in a wheelchair and reads from a book labeled Arabic. The backdrop is a world map illustration. Hashtag Access Languages Meetup is above with event information following. The background is a map of the world. MIUSA, U.S. State Department, and University of Oregon American English Institute logos are below.
Fund for Education Abroad promo, 2017
Graphic of passport with global emblem. A portion of the globe is highlighted red to symbolize 7% of Fund for Education Abroad scholars identify as having a disability. Additional text reads Encourage U.S. undergraduates with disabilities to apply for Fund for Education Abroad. Scholarship deadline January 17, 2018. Fund for Education Abroad logo.
Joining Hands Symposium logo, 2018
Graphic of two hands one with brown skin and one with beige skin, cupping a globe from the top and bottom. Below is a U.S. flag, the U.S. Department of State seal, and MIUSA logo. Text reads Joining Hands, July 17, 2018, Washington DC.
Adaptive Climbing flyers, 2013
One flyer is an illustration of a person with 2 leg prostheses climbing an indoor climbing gym wall with various sized and colored holds. Tape on one of the holds has text on it reading Adaptive Climbing open to all disabilities. The other is of the back of a person with brown skin reaching their hand into a chalk bag clipped to their climbing harness. Their other hand is holding a forearm crutch. The text on the chalk bag reads Adaptive climbing open to all disabilities.
Visiting Artist Lecture Series flyer, 2018
Poster with different autumn-inspired blocks of color. Text reads: Mason Gross School of the Arts Department of Art and Design
Visiting Artist Lecture Series Fall 2018. Civic Square Building 33 Livingston Avenue New Brunswick, NJ Room 110. Wednesdays at 6:40 p.m.
10/3 Juan Sánchez 10/10 Adam Putnam10/17 Asger Carlsen 10/24 American Artist 10/31 Laura Swanson 11/2 Friday at 5:40 Diana Nawi 11/7 Jonathan González 11/14 Farah Al Qasimi11/28 Sanya Kantarovsky 12/5 Diamond Stingily
Wheelchair accessible, ASL/CART available on request. Contact Cassandra email@example.com or 848-932-5399 one week prior to event.
Open Doors Infographic, 2017
Heading on infographic reads study abroad participation &students with disabilities. Data from the Open Doors Report on InternationalEducational Exchange.
First infographic is a plane ticket reading: 341 institutionsreported that they had 5,641 students studying abroad with a disability in2015/2015. Second infographic is a flight control tower with a planetaking off leaving a trail that is a line graph showing the percentages of thesurvey. Text reads: study abroad students: percentage with a disability. 2006/2007:2.6%, 2007/2008: 3.0%, 2008/2009: 3.6%, 2009/2010: 4.0%, 2010/2011: 4.1%, 2011/2012:5.0%, 2012/2013: 5.1%, 2013/2014: 5.7%, 2014/2015: 5.3%, 2015/2016: 8.8%.
Third infographic is stickfigures with different disability symbols going along a moving walkway. Autism is represented by a stick figurewith a infinity symbol in their head, physical disability is a stick figure ina manual wheelchair, sensory disability is a stick figure with a cane, other disability is a stick figure with no other features, chronic health disorder is a stick figurewith a spoon, mental disability is a stick figure with a cloud and lightningbolt in their head, learning disability is a stick figure with mechanicalgears in their head. Below each stick figure is a percentage and disability. Text reads: Study Abroad Students: Type of Disability, 2015/2016. 1.8% Autism Spectrum Disorder 3.6% Physical Disability, 4.4% Sensory Disability, 4.9%Other Disability, 23.2% Chronic Health Disorder, 27.7% Mental Disability, 34.4% Learning Disability. This is the first year that Autism SpectrumDisorder and Chronic Health Disorder were categories in the survey. In2014/2015 the Other Disability category was 20.7%.
At the bottom of the infographics is the following information source wwww.iie.org/Research-and-Insights/Open-Doors/Data/US-Study-Abroad/Student-with-Disabilities. The National Clearinghouse on Disability and Exchange is aproject of the U.S. Department of State's Bureau of Educational and CulturalAffairs, designed to increase the participation of people with disabilities ininternational exchange between the United States and other countries, and issupported in its implementation by Mobility International USA. Logos of MIUSAwith a world and U.S. Department of State eagle and shield seal.
Various icons, 2018
Eight stylized circular icons. They all use the same three colors, a dark blue, a light blue, a green blue, and a light beige. They depict two roads leading to one vanishing point along a horizon, a waving striped flag, a magnifying glass with spotlight, a torch and flame, a lectern with microphone, a judge's gavel, scissors cutting paper, and a coin going into a piggy bank.
National flowers for Women's Institute on Leadership and Disability WILD, 2018
Four simple line illustrations depicting the national flowers of the countries participating in WILD - Asia. Nepal is represented by a rhododendron, Sri Lanka by a blue water lily, India by a lotus, and China by a peony.