subRosa's project for “The Way That We Rhyme: Women, Art and Politics.” Participants were invited to write shout-outs to inspirational figures, and decorate paper “Cones of Respect” that were then pinned on a ‘pier post,’ or communications tower. subRosa borrowed from the aesthetic forms and utopian philosophy of “Art Into Life” of the Russian Constructivists, and the “Wall of Respect” painted by African American activists in 1967, in order to initiate discussions of possible feminist joy and solidarity. Yerba Buena Center for the Arts, San Francisco, 2008.


subRosa's project for "The Way That We Rhyme." A poetic, performative installation, commissioned for an intergenerational feminist exhibition. Performers rode on two ‘rafts’ made from discarded tires, painted canvas, and reclaimed billboard materials, and invited viewers aboard. The project demonstrated “the way that we work” in solidarity with each other and with other women, and invokes different social movements and philosophies that influence each of us. Yerba Buena Center for the Arts, San Francisco, 2008.

America's Least Livable City

Installation created for Pittsburgh Center for the Arts’ "2014 Artist of the Year" exhibition.


Video installation at the Mattress Factory for 2012's "Sites of Passage" show.

Can You See Us Now?

subRosa's contribution to "The Interventionists" exhibition at MASS MoCA, 2004.


subRosa's installation for "The Way That We Rhyme" at Yerba Buena Center for the Arts,

Propositions and Undoings

subRosa's contribution to the 2011 Pittsburgh Biennial


subRosa performance and installation at Ljubljana's City of Women festival.

Rhythmic Smelling Machines

MFA thesis project, 1999.

Transfer Points

A collaboration with Jen Morris exploring the intersections of patient/traveler processing at airports and hospitals.

Healthy Artists

Design for the Healthy Artists Movie Poster Exhibition. Inspired by Andy Warhol's "Vanitas" painting, popular Día de Muertos colors, and Lance Wyman's visual program for the Mexico City '68 Olympics.

Where have all the — And what will she do with?

Installation: Lyrics from "All Tomorrow's Parties" are written on paper tongues. Lyrics to "Where Have All the Flowers Gone" are painted on broken ROTC practice rifles, 2014.

Que Serra

Acrylic on birch with [supplied] horseshoe and miniature figures: a wry reference to the Tilted Arc at Javits Plaza. Created for a themed silent auction to benefit the Mattress Factory, 2014.

Exquisite Corpse

Exquisite Corpse drawing by Ryan Griffis, Hyla Willis, and Christiane Leach for the "Surrealism and War" exhibition at the National Veterans Art Museum, 2014.


Installation: wood, nails, paint, 2014. After the village is razed, the succulent hedge is steadfast.

Iraq Body Count

Cotton paper, toner, glue, time, dimensions variable, until it stops. 2012