This is an online archive of my work. Please check back frequently for new content and updates from past work.

Night Skulk – W.I.P. (2021)

Esta Noche (2021)

Ocean 0-9. Or, After Robert Blanchon’s Wave series as their memory washed over me on the ferry ride to Santa Cruz Islands to see the little foxes on the occasion of my fiftieth birthday with loved ones. Or, I remain. (2019-2021)

Poems & Puzzling in Isolation (2021)

Save the Last Dance for Me (2019)

As part of exhibition To Know Herself curated by Yomna Osman at CCA Wattis Institute for Contemporary Arts, artist and CCA Provost Tammy Rae Carland created a commissioned performance installation titled Save the last dance for me (2019). Tammy Rae Carland invites visitors to dance with her to a looped, three-minute song performed by Los Angeles-based artist/musician Kelly Marie Martin, also commissioned for this piece. The music becomes audible only when participants stand on the re-created dance floor.

Jonesy’s PACK (2018)

Jonesy’s PACK, at Klowden Mann was an exhibition by Los Angeles-based artist Jonesy along with a group of artists he invited to create and physically stage hand-embellished vests or ‘cuts’ in a manner that recalls the initiation ritual of biker clubs, and that ritual’s extension into other subcultures.

Click Training (2018)

JayJee’s Bici Love (2017)

In the Service of the Song (2015)

Wellpuddin Paintings (2015-16)

Find Your Space at the Ford (2014)

St. Paddy’s Electric Mother’s Day (2013)

Beauty Must Suffer (2011)

Get Hubbied Fall to Her Rush to Him (2011)

Get Hubbied was a multi-tiered project about the fragile yet resilient institution of marriage. Conceived and curated by artist Bettina Hubby and produced through her collaborative studio, HubbyCo., the project not only explored the idea of marriage through various media, but also took this investigation several steps further by staging, on September 25th, 2011, a genuine and legal wedding for couple, Bec & Ruben.

Mama-San Alchemy of Ancestry 2.0 (2009)

The Alchemy of Ancestry was originally made as part of my participation in Rejmyre Matters, a residency at a glass factory in Rejmyre, Sweden. The residency coincided with a planned trip to visit Sweden, my mother’s homeland to which I had not been in over 15 years. I came to Sweden many times as a child and learned enough Swedish to speak to my mormor and morfar (grandparents.)  We spent a handful of summers at my grandparents cottage on the colony of Brändaholm on the island of Dragsö, a magickal place of adventure imprinted so deep that I have recurring adventure dreams which take place there. 

In imagining a project I could do while at the Rejmyre glasbruk I could not help but think about these connections–the many relatives my mother tries to remind me I met over coffee when I was seven. I got a book from the Los Angeles public library, Swedish Glass, by Elisa Steenberg published in 1952, which covers the early history of Swedish glass production.  I scanned a lot of the small black and white images of different glassware and began to manipulate the silhouettes.  One of the silhouettes appeared to look like a kiss.  I thought of lips on glass and I remembered the glasses I used to drink hallonsaft from–the same ones from which I was now drinking wine with my cousins and uncle and husband.  We were on the island of Aspö, my mormor’s birthplace and as we walked the length of it from the ferry to our family side, my mother talked about the homestead and the relatives and I wanted to hear a list of those names from her lips.  I wanted to hear this with the mix of the sound of glass being blown as an intimation of the magick of glassmaking and ancestry.  It can be held in hand, in symbol or heard through story, or song or held in taste and touch as lips to glass to tongue to liquid–the alchemy of memory, like glass.

For V2.0.1 I decided to recreate the installation with Young in mind, heeding the spirits of these mama-sans who are also mine and of which I am a part.  You raise a glass to remember.  And return.

Remyre Matters Alchemy of Ancestry (2008)

Kelly & David – Two Work Samples – Untitled Feather Chorale No. 01 (2008) and Contraption Spell (2007)

Excerpts from two works produced in collaboration with David Jones.

1. Untitled Feather Chorale No. 01 – performed at REDCAT’s FALL Studio and as part of Hubby’s CoTour in 2008. Performers (in addition to Kelly Marie Martin and David Jones) – Monica Howe, Tif Sigfrids, Evan Holloway and Ben Guzman.

2. Contraption Spell – created for REDCAT’s “New Original Works” Festival in 2007. Performers (in addition to Kelly Marie Martin and David Jones) – Monica Howe, MJ Silva, James McCarthy, Mary Clare Stevens, and Cameron Mesirow.

Costumes for both works designed by artist Bettina Hubby.