On the Subject of Tests: Photographic Documentation, 2019
On the Subject of Tests: Photographic Documentation, 2019

On the Subject of Tests: Photographic Documentation takes the Wechsler Intelligence Scale for Children (WISC) as its subject. From the manual*: “This test consists of a series of pictures which, when placed in the right sequence, tell a little story. The picture series are not unlike the short comic strips to be found in the daily papers.” These drawings were culled by the test’s designers from the disparate sources of the New Yorker magazine and the Army Group Examinations and are meant to measure a subject’s “ability to comprehend and size up a total situation.”

*Wechsler, David. The Measurement of Adult Intelligence. Baltimore: Williams & Wilkins Comp., 1944.

Effecting a Split (excerpt), 2018; video installation
Effecting a Split (excerpt), 2018; video installation

Effecting a Split borrows the transformation of Dr. Jekyll into Mr. Hyde and places it against a staged magic illusion that requires identical actors to perform a transportation, representing a self that is divided first inwardly and then outwardly. My interests in misdirection and visual cognition come into the project as the two scenes are placed in tandem and projected adjacent to each other in non-analogous takes.

Effecting a Split (excerpt), 2018; video installation

Effecting a Split borrows the transformation of Dr. Jekyll into Mr. Hyde and places it against a staged magic illusion that requires identical actors to perform a transportation, representing a self that is divided first inwardly and then outwardly. My interests in misdirection and visual cognition come into the project as the two scenes are placed in tandem and projected adjacent to each other in non-analogous takes.

One Not Seeing: Black Box Theory, 2018; Silicone; 5 x 12 x 22 inches
One Not Seeing: Black Box Theory, 2018; Silicone; 5 x 12 x 22 inches

On Not Seeing is a set of sculptures, each based on an object whose function relies on what is seen and what is hidden from view. Through a process-led intervention, I reveal the inner workings of the objects and, therefore, render them inoperative—transforming the objects into inert subjects of inquiry. Black Box Theory is modeled off of a theoretical diagram utilized in Behaviorism. Black Box Theory postulates that the mind is unknowable, therefore the only way to study the mind is to observe responses to stimuli. All that can be studied is what can be directly seen, the input and output, but not the mechanism that produces the result.

On Not Seeing: The Magic Ball & Vase , 2018; Cast Aluminum; 16 x 10 x 28 inches overall
On Not Seeing: The Magic Ball & Vase , 2018; Cast Aluminum; 16 x 10 x 28 inches overall

Magic Ball & Vase is based upon a mass-produced magic trick. The trick purports to make a ball disappear from within a vase with a lid. The supposed disappearance is not performed sleight of hand, but instead part of the object itself. Here my interest lies in exposing the interior workings of the apparatus.

7 Stages , 2017; Plaster; 
Installation view: AWHRHWAR, Los Angeles, California
7 Stages , 2017; Plaster; 
Installation view: AWHRHWAR, Los Angeles, California

7 Stages is comprised of seven plaster sculptures corresponding to the phases of sexuality as outlined by Freud (Oral Aggressive, Oral Passive, Anal Retentive, Anal Expulsive, Phallic, Latent, and Genital). I used these stages as a blueprint in predetermining the forms of the sculptural works and in reference to the developmental nature of Freud’s stages the objects are exhibited as more as prototypes than as finished sculptures.

7 Stages , 2017; Plaster; 
Installation view: AWHRHWAR, Los Angeles, California
7 Stages , 2017; Plaster; 
Installation view: AWHRHWAR, Los Angeles, California

7 Stages is comprised of seven plaster sculptures corresponding to the phases of sexuality as outlined by Freud (Oral Aggressive, Oral Passive, Anal Retentive, Anal Expulsive, Phallic, Latent, and Genital). I used these stages as a blueprint in predetermining the forms of the sculptural works and in reference to the developmental nature of Freud’s stages the objects are exhibited as more as prototypes than as finished sculptures.

In Stages (Excerpt), 2017; Video projection; 67 minutes 

In Stages is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation.

In Stages (Excerpt), 2017; Video projection; 67 minutes 
In Stages (Excerpt), 2017; Video projection; 67 minutes 

In Stages is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation.

A Sequel To (Excerpt), 2017; Video
; 6:00 minutes

A Sequel To is a narrative film that utilizes Cotard’s syndrome, a delusion wherein those afflicted suffer the nihilistic delusion that they are dead or no longer exist, as a device examine psychoanalytic ideas around desire and projection. The project explors this dissociative state in relation to romantic love, decision making and fantasies, and postulates that this can be seen as a mirror to certain tactics used to gain power within relationships.

Three by Seven, 2017; Ceramic and metal hardware; 36 x 84 inches
Three by Seven, 2017; Ceramic and metal hardware; 36 x 84 inches

Three by Seven is a large ceramic chain, which for me became a stand in for the idea of contingency. The chain’s installation required reinforced hooks, while each link in the chain required the one next to it to hold its shape. Meant to resemble both a utilitarian net and a childrens’ climbing structure, it was rematerialized and recontextualized in the gallery.

Three by Seven, 2017; Ceramic and metal hardware; 36 x 84 inches
Three by Seven, 2017; Ceramic and metal hardware; 36 x 84 inches

Three by Seven is a large ceramic chain, which for me became a stand in for the idea of contingency. The chain’s installation required reinforced hooks, while each link in the chain required the one next to it to hold its shape. Meant to resemble both a utilitarian net and a childrens’ climbing structure, it was rematerialized and recontextualized in the gallery.

Hanging Chain, 2017; Ceramic; 10 feet high 
Hanging Chain, 2017; Ceramic; 10 feet high 

Hanging Chain is a fired clay chain suspended from an existing I-beam. With this work, the strength and industrial quality of a chain is rendered fragile and bodily through my choice of material. This confluence of seeming contradictions is meant to physically manifest as an anxious object, unstable in its material and meaning.

Two Ones & Three Twos, 2015; Ceramic, concrete, wood
; 16 x 14 x 18 inches; 14 x 18 x 16 inches 
Two Ones & Three Twos, 2015; Ceramic, concrete, wood
; 16 x 14 x 18 inches; 14 x 18 x 16 inches 

Two ones and Three Twos are part of a series of ceramic sculptures that address the body—specifically, these objects reference massage tools and were produced due to various lived aches and pains. I worked to make these objects both functional and absurd.

Two Ones & Three Twos, 2015; Ceramic, concrete, wood
; 16 x 14 x 18 inches; 14 x 18 x 16 inches 
Two Ones & Three Twos, 2015; Ceramic, concrete, wood
; 16 x 14 x 18 inches; 14 x 18 x 16 inches 

Two ones and Three Twos are part of a series of ceramic sculptures that address the body—specifically, these objects reference massage tools and were produced due to various lived aches and pains. I worked to make these objects both functional and absurd.

Conversations, 2014 (
In collaboration with Sam Kahn); Performance still; 
Roberts & Tilton, Los Angeles, CA 
Conversations, 2014 (
In collaboration with Sam Kahn); Performance still; 
Roberts & Tilton, Los Angeles, CA 

Using the traditional tools of theater, Conversations attempted to recreate a scene from memory—aiming to reenact memories of a relationship through writing, casting, rehearsing and directing. Neither constructed to perfectly replicate their original sources, nor to completely erase real-life qualities of a space, our sets and dialogues aimed to highlight the fallible and distorted qualities of memory.

Conversations, 2014 (
In collaboration with Sam Kahn); Performance still; 
Roberts & Tilton, Los Angeles, CA 
Conversations, 2014 (
In collaboration with Sam Kahn); Performance still; 
Roberts & Tilton, Los Angeles, CA 

Using the traditional tools of theater, Conversations attempted to recreate a scene from memory—aiming to reenact memories of a relationship through writing, casting, rehearsing and directing. Neither constructed to perfectly replicate their original sources, nor to completely erase real-life qualities of a space, our sets and dialogues aimed to highlight the fallible and distorted qualities of memory.

Conversations, 2014 ( In collaboration with Sam Kahn); Performance still; Roberts & Tilton, Los Angeles, CA
Conversations, 2014 ( In collaboration with Sam Kahn); Performance still; Roberts & Tilton, Los Angeles, CA

Using the traditional tools of theater, Conversations attempted to recreate a scene from memory—aiming to reenact memories of a relationship through writing, casting, rehearsing and directing. Neither constructed to perfectly replicate their original sources, nor to completely erase real-life qualities of a space, our sets and dialogues aimed to highlight the fallible and distorted qualities of memory.

Sasha Bergstrom-Katz & Sam Kahn, Conversations: "Avocado Shaker," Machine Project, 2014
Sasha Bergstrom-Katz & Sam Kahn, Conversations: "Avocado Shaker," Machine Project, 2014

Sam Kahn and I showcased three original works from their ongoing mixed-media collaboration Conversations. In three ninety-minute sessions the artists worked with theater actors in a state of rehearsal and revision to stage autobiographical scenes they wrote.

On the Subject of Tests: Photographic Documentation, 2019
Effecting a Split (excerpt), 2018; video installation
Effecting a Split (excerpt), 2018; video installation
One Not Seeing: Black Box Theory, 2018; Silicone; 5 x 12 x 22 inches
On Not Seeing: The Magic Ball & Vase , 2018; Cast Aluminum; 16 x 10 x 28 inches overall
7 Stages , 2017; Plaster; 
Installation view: AWHRHWAR, Los Angeles, California
7 Stages , 2017; Plaster; 
Installation view: AWHRHWAR, Los Angeles, California
In Stages (Excerpt), 2017; Video projection; 67 minutes 
In Stages (Excerpt), 2017; Video projection; 67 minutes 
A Sequel To (Excerpt), 2017; Video
; 6:00 minutes
Three by Seven, 2017; Ceramic and metal hardware; 36 x 84 inches
Three by Seven, 2017; Ceramic and metal hardware; 36 x 84 inches
Hanging Chain, 2017; Ceramic; 10 feet high 
Two Ones & Three Twos, 2015; Ceramic, concrete, wood
; 16 x 14 x 18 inches; 14 x 18 x 16 inches 
Two Ones & Three Twos, 2015; Ceramic, concrete, wood
; 16 x 14 x 18 inches; 14 x 18 x 16 inches 
Conversations, 2014 (
In collaboration with Sam Kahn); Performance still; 
Roberts & Tilton, Los Angeles, CA 
Conversations, 2014 (
In collaboration with Sam Kahn); Performance still; 
Roberts & Tilton, Los Angeles, CA 
Conversations, 2014 ( In collaboration with Sam Kahn); Performance still; Roberts & Tilton, Los Angeles, CA
Sasha Bergstrom-Katz & Sam Kahn, Conversations: "Avocado Shaker," Machine Project, 2014
On the Subject of Tests: Photographic Documentation, 2019

On the Subject of Tests: Photographic Documentation takes the Wechsler Intelligence Scale for Children (WISC) as its subject. From the manual*: “This test consists of a series of pictures which, when placed in the right sequence, tell a little story. The picture series are not unlike the short comic strips to be found in the daily papers.” These drawings were culled by the test’s designers from the disparate sources of the New Yorker magazine and the Army Group Examinations and are meant to measure a subject’s “ability to comprehend and size up a total situation.”

*Wechsler, David. The Measurement of Adult Intelligence. Baltimore: Williams & Wilkins Comp., 1944.

Effecting a Split (excerpt), 2018; video installation

Effecting a Split borrows the transformation of Dr. Jekyll into Mr. Hyde and places it against a staged magic illusion that requires identical actors to perform a transportation, representing a self that is divided first inwardly and then outwardly. My interests in misdirection and visual cognition come into the project as the two scenes are placed in tandem and projected adjacent to each other in non-analogous takes.

Effecting a Split (excerpt), 2018; video installation

Effecting a Split borrows the transformation of Dr. Jekyll into Mr. Hyde and places it against a staged magic illusion that requires identical actors to perform a transportation, representing a self that is divided first inwardly and then outwardly. My interests in misdirection and visual cognition come into the project as the two scenes are placed in tandem and projected adjacent to each other in non-analogous takes.

One Not Seeing: Black Box Theory, 2018; Silicone; 5 x 12 x 22 inches

On Not Seeing is a set of sculptures, each based on an object whose function relies on what is seen and what is hidden from view. Through a process-led intervention, I reveal the inner workings of the objects and, therefore, render them inoperative—transforming the objects into inert subjects of inquiry. Black Box Theory is modeled off of a theoretical diagram utilized in Behaviorism. Black Box Theory postulates that the mind is unknowable, therefore the only way to study the mind is to observe responses to stimuli. All that can be studied is what can be directly seen, the input and output, but not the mechanism that produces the result.

On Not Seeing: The Magic Ball & Vase , 2018; Cast Aluminum; 16 x 10 x 28 inches overall

Magic Ball & Vase is based upon a mass-produced magic trick. The trick purports to make a ball disappear from within a vase with a lid. The supposed disappearance is not performed sleight of hand, but instead part of the object itself. Here my interest lies in exposing the interior workings of the apparatus.

7 Stages , 2017; Plaster; 
Installation view: AWHRHWAR, Los Angeles, California

7 Stages is comprised of seven plaster sculptures corresponding to the phases of sexuality as outlined by Freud (Oral Aggressive, Oral Passive, Anal Retentive, Anal Expulsive, Phallic, Latent, and Genital). I used these stages as a blueprint in predetermining the forms of the sculptural works and in reference to the developmental nature of Freud’s stages the objects are exhibited as more as prototypes than as finished sculptures.

7 Stages , 2017; Plaster; 
Installation view: AWHRHWAR, Los Angeles, California

7 Stages is comprised of seven plaster sculptures corresponding to the phases of sexuality as outlined by Freud (Oral Aggressive, Oral Passive, Anal Retentive, Anal Expulsive, Phallic, Latent, and Genital). I used these stages as a blueprint in predetermining the forms of the sculptural works and in reference to the developmental nature of Freud’s stages the objects are exhibited as more as prototypes than as finished sculptures.

In Stages (Excerpt), 2017; Video projection; 67 minutes 

In Stages is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation.

In Stages (Excerpt), 2017; Video projection; 67 minutes 

In Stages is a 67-minute long single channel video depicting multiple clay vessels dissolving in water. With this work I aimed to highlight the materiality and physicality of the objects, filming and recording the forms in a constant state of transformation.

A Sequel To (Excerpt), 2017; Video
; 6:00 minutes

A Sequel To is a narrative film that utilizes Cotard’s syndrome, a delusion wherein those afflicted suffer the nihilistic delusion that they are dead or no longer exist, as a device examine psychoanalytic ideas around desire and projection. The project explors this dissociative state in relation to romantic love, decision making and fantasies, and postulates that this can be seen as a mirror to certain tactics used to gain power within relationships.

Three by Seven, 2017; Ceramic and metal hardware; 36 x 84 inches

Three by Seven is a large ceramic chain, which for me became a stand in for the idea of contingency. The chain’s installation required reinforced hooks, while each link in the chain required the one next to it to hold its shape. Meant to resemble both a utilitarian net and a childrens’ climbing structure, it was rematerialized and recontextualized in the gallery.

Three by Seven, 2017; Ceramic and metal hardware; 36 x 84 inches

Three by Seven is a large ceramic chain, which for me became a stand in for the idea of contingency. The chain’s installation required reinforced hooks, while each link in the chain required the one next to it to hold its shape. Meant to resemble both a utilitarian net and a childrens’ climbing structure, it was rematerialized and recontextualized in the gallery.

Hanging Chain, 2017; Ceramic; 10 feet high 

Hanging Chain is a fired clay chain suspended from an existing I-beam. With this work, the strength and industrial quality of a chain is rendered fragile and bodily through my choice of material. This confluence of seeming contradictions is meant to physically manifest as an anxious object, unstable in its material and meaning.

Two Ones & Three Twos, 2015; Ceramic, concrete, wood
; 16 x 14 x 18 inches; 14 x 18 x 16 inches 

Two ones and Three Twos are part of a series of ceramic sculptures that address the body—specifically, these objects reference massage tools and were produced due to various lived aches and pains. I worked to make these objects both functional and absurd.

Two Ones & Three Twos, 2015; Ceramic, concrete, wood
; 16 x 14 x 18 inches; 14 x 18 x 16 inches 

Two ones and Three Twos are part of a series of ceramic sculptures that address the body—specifically, these objects reference massage tools and were produced due to various lived aches and pains. I worked to make these objects both functional and absurd.

Conversations, 2014 (
In collaboration with Sam Kahn); Performance still; 
Roberts & Tilton, Los Angeles, CA 

Using the traditional tools of theater, Conversations attempted to recreate a scene from memory—aiming to reenact memories of a relationship through writing, casting, rehearsing and directing. Neither constructed to perfectly replicate their original sources, nor to completely erase real-life qualities of a space, our sets and dialogues aimed to highlight the fallible and distorted qualities of memory.

Conversations, 2014 (
In collaboration with Sam Kahn); Performance still; 
Roberts & Tilton, Los Angeles, CA 

Using the traditional tools of theater, Conversations attempted to recreate a scene from memory—aiming to reenact memories of a relationship through writing, casting, rehearsing and directing. Neither constructed to perfectly replicate their original sources, nor to completely erase real-life qualities of a space, our sets and dialogues aimed to highlight the fallible and distorted qualities of memory.

Conversations, 2014 ( In collaboration with Sam Kahn); Performance still; Roberts & Tilton, Los Angeles, CA

Using the traditional tools of theater, Conversations attempted to recreate a scene from memory—aiming to reenact memories of a relationship through writing, casting, rehearsing and directing. Neither constructed to perfectly replicate their original sources, nor to completely erase real-life qualities of a space, our sets and dialogues aimed to highlight the fallible and distorted qualities of memory.

Sasha Bergstrom-Katz & Sam Kahn, Conversations: "Avocado Shaker," Machine Project, 2014

Sam Kahn and I showcased three original works from their ongoing mixed-media collaboration Conversations. In three ninety-minute sessions the artists worked with theater actors in a state of rehearsal and revision to stage autobiographical scenes they wrote.

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