Ticker Tape Tedium is a fictitious world in which I have been rewarded for conquering all of my mounting daily tasks. To communicate this new found success over never-ending, tedious chores I included various celebratory sculptures and wall pieces. From sports pennants printed with small victories like being on-time and folding clean laundry, to daily trophies proclaiming the successful completion of each day, all the way to a six floor and inflatable parade floats that cascade through the gallery. The parade is built with airbrushed paper mache objects that represent the six different themes found on the pennants. The space is a primary color explosion that at first glance feels like a celebration until a deeper inspection shows incessant repetition of routine through manufactured reproductions, false claims of triumph printed on ribbons and awards and large inflatable cartoon bombs hovering over the parade with each fuse getting closer and closer to explosion.

Embrace. Release. Surrender: A Self-Care Support System is a transformative journey that navigates commercialized self-care led by artists Kitty Rauth and Lea Devon Sorrentino. Through this immersive experience potential "recruiters" participate in creative exercises, and role playing that encourages the audience to reflect on never ending self-betterment in a response to structural oppression. Together, we'll investigate the relentless pursuit of external success and redefine our understanding of genuine well-being. Amidst our reflections, we'll confront the notion of mortality by recognizing life's impermanence. Let us cope with being GOOPed and lead one another through self-care and self-control.

The act of moving your hand up and down in the wind while sticking it out of a car window is a simple yet effective method for eliciting calm and relaxation. It’s a technique that has been discovered and popularized by Lea Devon Sorrentino. I’ve since developed a prototype for people to experience BreezeRiding® that simulates the experience, constructed with found objects like a car door freestanding with a welded frame and a branded fan to simulate the wind. BreezeRider® has recently been featured in the group exhibition, Mother Mold show at the NARS foundation, and includes illustrated instructions on how to interact with the prototype. The piece also includes a design patent that has been submitted to the US Patent office where I claim ownership of the idea and hope to share the soothing benefits of this simple yet powerful technique with the world.

Nature is calling, or is it, emailing? Now that workers are no longer tethered to desks it was only a matter of time until nature evolved to sustain their mobility. In response to the ever-growing group of digital nomads, the earth has sprung forth with organic power strips, USB ports, and other helpful office devices. Finally! Mother nature is ready for us all to achieve the illusive work-life balance.

Excavated from national parks, lush forests and rocky shores these unique work companions are now amassed into their first-ever natural history exhibit, Remote Work. Delve into this important collection that encapsulates the benefits of constant productivity. Explore the phenomena of what happened as humans advocated to work from anywhere, instead of demanding to work less.

The Pain of Perfect is a multi-media installation that combines video with found and made objects on a movable pedestal. Three videos, four to five minutes in length, play on loop on either side of the display. Each video is of a fictional online influencer that provides habits and rules to reach a state of perfection. The dialogue is derived from actual advice found in the most watched Youtube influencer videos on self-help that has been exaggerated. Situated on each side of the framed screens are self-help books from around the Glen Foerd mansion. Adorned on the side of the pedestal are resin casted commemorative items, similar to items found within the mansion, to celebrate the arrival of the fictional Baroness.

American culture has an obsession with exceptionalism and perfectionism– achieving financial or social success within our society is deemed as inherently good. The obsession with perfection is steeped in capitalism and structural oppression. Not achieving perfection is used to make people feel unworthy of support, care and basic needs. Not being perfect leads to unhealthy productivity, fatphobia, white supremacy and is now fueling a new culture of commercialized self-help.

The incessant need to be exceptional never ends. Moving through the rungs of the American dream comes with new unobtainable plateaus of perfection. This is evident even within the walls of the Glen Foerd Mansion, a home crafted for the wealthy and perceptually perfect. The bookshelves within the mansion are scattered with self-help books– dieting, beauty, manners, religion, professionalism. Even in a position of financial and social power, the people who lived here still believed they were not as perfect as they should be.

Now you can own a piece of history with your very own COVID-19 commemorative plates! You can remember this special time forever with these priceless works of art that present Dr. Fauci’s calm demeanor and subtle disappointment, the epic Cuomo Brothers floating above iconic scenes from New York's devastation, and who would forget all of the hobbies Americans adopted because of the sheer boredom of isolation.

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Historic Pandemic Plates is a parody piece of collectable plates to commemorate the impact of the pandemic and late stage capitalism. At the beginning of the pandemic content like Tiger King and platforms like TikTok became kitsch distraction to what is now a global devastation. This video piece is an uncanny informercial to highlight the beginning stages of the pandemic and our relationship to objects to represent moments and memories.

She's Gone All Out: This 6x6x8ft mixed media installation contains a constructed platform reminiscence of a pen for race horse winners. The trophy case in the middle adorns ribbons, sashes, a horseshoe made of fresh black roses and a looping video. Within the video is a fictionalized version of myself winning an ambiguous award expressing excitement while trying to hold back dread. A blanket with fringe and tassels is draped across the trophy case. Thousands of participation ribbons with past “accomplishments” like getting married, having a stable job, being reliable and a survivor, weigh down on the blanket, dragging and nagging at the supposed celebration. In the video I use a camp aesthetic to ease the audience into uncomfortable but familiar thoughts about trying to achieve success. The video uses humor as a connecting point for the audience to relate to the character’s emotions and reflect on how they might mirror their own.

Professional By Name is a mixed media triptych about the complexities of professionalism. The piece comically presents the competition and insecurities felt trying to maintain a conceptual artistic practice. Each 3ft X 4ft panel is comprised of both found and made objects that represent business culture. The exaggerated name plaques, normally reserved for name and title only, include more vulnerable text as the plaques get larger and move from manufactured to handmade. The inclusion of soft lighted lamps and succulent plants are reactions to online advice columns about how to show more personality in the workplace.

This work was created at the Wassaic Project residency.

Do you have the feeling like something is wrong, missing, uncomfortable, moving to fast, moving to slow, overwhelming, awkward, misunderstood, kinda lonely, too crowded, out of control, too good to be true, out of reach, beneath you, above you, dried up, dumb, out smarting you, frustrating, confusing, obvious, a train wreck, too close to perfect, not perfect enough, kind of ugly, boring, over before it began, disheartening, less than what is appears, too good to be true, spoiling the mood, awful, sickening, broken, hard to love, kind of off or just the worst?

Are you trying to find a way to start feeling like you are winning while you constantly lose? Great!

You Need Help is a series of training videos aiming to get your life seemingly back on track!

Miss Stöðvarfjörður 2017 is an exploration of grandeur, attention and desire. While attending a residency in East Iceland at the Fish Factory- Creative Center of Stöðvarfjörður I realized how important it was for me to arrive and be liked, found attractive and important. These feelings were familiar and consistent.

Miss Stöðvarfjörður 2017 represents the absurdity of wanting approval by hosting a beauty pageant of one person in a town of less than 100 people.

Becoming Baroness is an exploration of identity, class, and status through the lens of the television show “The Real Housewives”

Real Truths: Pop Culture Edition is a digital performance project that took place over Facebook Live Stream and Periscope. The desire to fit-in shapes us as deeply as does the want to be independent. There are many instances where people are confronted with being honest at the risk of being vulnerable. These series of videos are an accumulation of rectifying moments where I have lied about in my past that expose my desire to belong.

This service aesthetic installation by Kayla Campbell and Lea Devon Sorrentino is included in the group Art Shanty Projects.

A premier high-end boutique specializing in the commodification of timelessness, Ice Ice Maybe offers the finest ice encased objects that money can't buy.

Here at Ice Ice Maybe we want to provide our customers an intimate shopping experience, that engages an emotional core to decision making. All of our products are frozen in moments of time to evoke deep connections to past, present, and future needs of our patrons. All of the items that Ice Ice Maybe provides are free in the conventional sense, as we do not take any form of physical currency. If there is something that a patron desires they are asked questions about their relationship to the object. Based on the answers provided to the sales clerk (Lea Devon Sorrentino) determines if the customer receives the object.

By combining each artists strengths Ice Ice Maybe was formed. The identity and interior decorating was orchestrated by Kayla Campbell; the concept and customer interaction developed by Lea Devon Sorrentino. The object of the project is to have a critical conversation about consumerism. With the assumption that everyone uses objects as extension of their identity, Ice Ice Maybe challenges audience to determine what objects are acquired that are a want versus what might be a need. The design of the ice shanty reflects a familiar atmosphere that resembles high-end boutiques.

Ceramics: Without Ceramics is an argument concerning what constitutes Fine Art, especially in the case of non-manufactured pottery, is the art found in the process and the intention, or in the object that is left behind? Through a sculptural installation, Ceramics: Without Ceramics intends to generate a conversation about the significance of the “object.” If an object has no monetary value and exists without functionality can the piece be accepted as Art?