100 Days in the Dollhouse began before the pandemic, during a professional transition when I was spending more time at home with my two young children, initially as a formal exploration of light moving through different parts of the house at different times of day. When the state went into lockdown six months later, the project's quiet investigation of domestic space took on amplified meaning it has never quite shed.

The work explores liminal spaces inside and outside the home using almost exclusively repurposed materials: fragments and decorative elements from an 80s-era wooden dollhouse, a smaller dollhouse found on a neighborhood walk, old linen napkins, upholstery swatches, ceramic figurine fragments, and over a decade's worth of leftover house paint. Porous materials (screens, mesh, and nets) recur throughout, filtering and controlling the movement of objects and substances, reflecting an ongoing interest in the illusion of control and the permeability of the boundaries we draw around our lives. 

at home: In December 2023, the work was exhibited alongside three other artists in an empty house, each artist taking over a single room.