s e l e c t e d p r o j e c t s
(untitled) love story
2025
(untitled) love story is a multidisciplinary project and ongoing, collaborative series exploring the narrative arc of a singular relationship across alternate timelines, settings, and circumstances through the use of photography, textiles, writing, artist books, performance, and sound installation. Utilizing their personal experiences and distinct creative mediums, multidisciplinary photographer Eden Chinn, performers Paula Romeu Garcia and Ciaran Short, writer Aziza Afzal, and sound designer Jabari Butler have collaboratively designed a universe surrounding the imagined meeting, courting, relationship, and eventual breakup of the two characters.
Both conceptually and materially, (untitled) love story no. 1 employs abstraction and translation: original photography is transformed through post production editing, print processes, and narrative organization, leveraging different mediums to recreate and expand upon photographic memories that are necessarily unreliable depictions of love.
Community Climate
2024
With the support of Make Justice Normal in celebration of 2024 Climate Week, the All Street Collective created an archive of how local communities respond to climate change. On Sunday September 23rd, on 34th Ave in Jackson Heights Queens, Make Justice Normal organzed a communiuty arts festival to raise awareness and expolore creative solutions for climate change. In addition to All Street, some of the featured artists were Sabina Sethi Unni, Remember Y(our) Connection/Tandand Ang Ating Ugnayan, Kaleidospace, Veggie Nuggets, Ellen (Jing) Xu, Bayete Ross Smith, Nitin Mukul. For the isntalltion The All Street Collective facilated a zine making workshop where passerbys had the opportunity to reflect on their relationship to climate change and make artwork in relation to these themes. All of the materials and paper used for the workshop and for the zines were recycled and sourced from discarded paper materials. A template for the zine can be found below as well as some of the responses from partipants.
2024
With the support of Make Justice Normal in celebration of 2024 Climate Week, the All Street Collective created an archive of how local communities respond to climate change. On Sunday September 23rd, on 34th Ave in Jackson Heights Queens, Make Justice Normal organzed a communiuty arts festival to raise awareness and expolore creative solutions for climate change. In addition to All Street, some of the featured artists were Sabina Sethi Unni, Remember Y(our) Connection/Tandand Ang Ating Ugnayan, Kaleidospace, Veggie Nuggets, Ellen (Jing) Xu, Bayete Ross Smith, Nitin Mukul. For the isntalltion The All Street Collective facilated a zine making workshop where passerbys had the opportunity to reflect on their relationship to climate change and make artwork in relation to these themes. All of the materials and paper used for the workshop and for the zines were recycled and sourced from discarded paper materials. A template for the zine can be found below as well as some of the responses from partipants.
Queer Knowing
2023
Queer Knowing was a group exhibition curated by Eden Chinn, Shuang Cai, and Blair Simmons as a tribute to felt moments of belonging within the queer experience. In the works on view, these moments are often marked by sentimental collections of found, then aggregated, objects and imagery, creating personal museums about identity and community. The exhibition of thirty-two artists was on view from June 2 - July 3, 2023, at All Street Gallery. This book is a physcial manifestation of the exhibtion.
Penumbra
2022
Penumbra is a 179-page artist book that combines found media and self-portraiture, exploring how the images we consume inform our gazes on ourselves. This project began as a personal investigation into my own relationship with my body. Throughout this process, I have been drawn to archival materials – vintage print magazines, family photographs, oral histories, and personal writings – as a way to investigate what I have inherited surrounding my body and identity.
As the project developed, I realized that there were two different archival practices I was undertaking: (1) archival materials of the family; (2) archival materials of the outside world, namely mainstream media. Using self-portraiture, the book’s images restage advertisements from magazines printed during my grandmother and mother’s coming of age. For the book’s text, I interviewed women in my family about the relationship between beauty and self-image, superimposing these interviews onto its imagery. As seen above, the self-portraits remix what my grandmother was exposed to in popular culture, what she passed down to my mother, and what I have absorbed about beauty and femininity across generations and media. The images were then fused together on Photoshop to create those seen in the publication.
In my personal reflections, I considered how isolation in domestic spaces has altered how I see myself and relate to my own femininity, especially in the absence of regular public presentation over the past few years. These reflections, as well as the project itself, are still ongoing, as an archive is amassed over a lifetime or more.
2022
Penumbra is a 179-page artist book that combines found media and self-portraiture, exploring how the images we consume inform our gazes on ourselves. This project began as a personal investigation into my own relationship with my body. Throughout this process, I have been drawn to archival materials – vintage print magazines, family photographs, oral histories, and personal writings – as a way to investigate what I have inherited surrounding my body and identity.
As the project developed, I realized that there were two different archival practices I was undertaking: (1) archival materials of the family; (2) archival materials of the outside world, namely mainstream media. Using self-portraiture, the book’s images restage advertisements from magazines printed during my grandmother and mother’s coming of age. For the book’s text, I interviewed women in my family about the relationship between beauty and self-image, superimposing these interviews onto its imagery. As seen above, the self-portraits remix what my grandmother was exposed to in popular culture, what she passed down to my mother, and what I have absorbed about beauty and femininity across generations and media. The images were then fused together on Photoshop to create those seen in the publication.
In my personal reflections, I considered how isolation in domestic spaces has altered how I see myself and relate to my own femininity, especially in the absence of regular public presentation over the past few years. These reflections, as well as the project itself, are still ongoing, as an archive is amassed over a lifetime or more.
Rx
2018
Artist book made in collaboration with Aziza Azfal featuring black and white 35mm photographs, a CVS prescription warning label, text and supporting illustrations made by woodblock print on transparent silk paper using laser engraved plywood. The text of the book is appropriated from Aziza Azfal’s prescription warning labels, with words redacted for poetic emphasis and distortion of meaning. Afzal is also the photographic model for the artist book and its illustrations. Through its text and imagery, the book addresses themes of (self-)medication, self-image, anxiety, depression, as experienced and intertwined in a feminine body. Segments of the prescription warning label's text were laser engraved onto plywood and laser cut to size. The woodblocks were then transferred onto transparent silk paper so that the text would frame the images on the following pages of the book. Rx was acquired by Reed College's Artist Book Collection.