In examining climate instability, I build installations that serve as facsimiles of nature in various states of decline and renewal. I envision the climate crisis at a point from which retreat is impossible — where vegetation can no longer grow on its own and must now be manufactured. I think of myself as a Nature Factory worker, urgently piecing together a world from the remnants of collapse.

These environments consist of sculptures I call hybrid objects, composed of natural and manufactured materials such as mangled steel, plastics, and salvaged architectural parts along with tree roots, bark and branches. I collect these from neighboring streets and scrap yards in Texas, where I live.

I also document the ravages of tornadoes, droughts, and flooding and print the images on wall-sized sheets of aluminum, film, and paper. I then cut, heat, and reconstruct these large prints as façades—pictures of nature peeling away from the walls and floor. The installations allude to painting histories and false notions of nature as pristine, separate from humans, and here for the taking.