My interdisciplinary practice draws on personal and family archives, church propaganda, my photography practice, and research on the American Frontier, specifically, the Kennecott Copper Mine (where my father worked for eleven years), the settlement of the Salt Lake Valley, and the Church of Jesus Christ of Latter-Day Saints. Hyperrealistic paintings on panel and copper mesh contemplate the impact of institutional power on Mountain West people, families, and societies to reflect on broader issues within the United States regarding heteropatriarchy, religiosity, capitalism, and the American Dream.

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