𓆡♡❦♡❦♡♡❦♡𓆝 ⋆.WORK LINKS𓆝 ⋆.♡❦♡❦♡❦♡❦♡ 𓆡
IRL:
Does that hurt the fish? (2025, 10:59)
MORALLY NEGATIVE (2025, 3:27)
WALMART RETURNS (2022-2025, 7:55)
YOUTUBE CHANNEL (2018-ONGOING, duration variable)
SWer-NPC-FABLE (2022, 3:58)
ANIMATION:
Unless the Outcome is Income: Animation (2026, 11:36)
R-SHARK WOKE UP! (2024, 1:39)
Welcome Home (2022, 0:38)
Push for Help Episode 1: The Worship of Kitty (2021, 3:05)
MACHINIMA/GAMEPLAY:
UNLESS THE OUTCOME IS INCOME: ROBLOX (2026, 9:28)
Little Darlings, sick (2025, 1:22)
An Ode to the Exit Sign (2024, 4:25)
The Fables of Money-Driven FishTank Game (2023, 4:24)
𓆡♡❦♡❦♡♡❦♡𓆝 ⋆.DESCRIPTIONS𓆝 ⋆.♡❦♡❦♡❦♡❦♡ 𓆡
Does that hurt the fish? (2025, 10:59) is a video performance centered around a mundane exchange between a regular client and an erotic worker at an aquarium during an impending pandemic, but just before businesses are officially closed.
MORALLY NEGATIVE (2025, 3:27) is a video performance with “amoral” edited erotic Whitney Museum ID cards and an affective worker trying to sell a client’s worthless diamond engagement ring in NYC’s diamond district.
WALMART RETURNS (2022-2025, 7:55) is a video performance that follows a dancer named Carp who is ethically and spatially overwhelmed by receiving thousands of Walmart Returns packages to her small apartment. This Walmart situation did happen to me. I still have hundreds of Walmart reseller knockoff goods even after bringing the packages to Skowhegan to give to my cohort, donating them, and installing them as free-to-take objects as part of my Hunter MFA thesis. Gestures of care and acts of donation serve as a method to subvert sex work stereotypes and provides an avenue to address the moralizing that happens around sex work and the societal legitimacy of it as an ontological concern.
YOUTUBE CHANNEL (2018-ONGOING, duration variable) These are improvised video performance updates where I’ll get comments like: “Calming video but, what the hell is ISP?”, “Ok, what is this channel even about?? What is ISP, and why does she start talking about makeup, only to follow it up with accelerationism?”, “I feel like I just peeked into someone else's life through this video lol thats cool”, “To the creator: Please don't make awful ARGs. If you must make them, don't publish them. Just keep the files on your computer. What you make will never be thought-provoking or valuable, it will just waste the time of people who don't deserve to have their time wasted.”, “What is the concept behind putting lipstick on the bit above your lip?”, “I feel like I just got brainwashed”, “Nice hair”,“This video is really wonderful”, and “Can you explain what your Youtube channel is? and who are you? Everything feels so dystopian and distant like im watching you from another dimension? Also please keep uploading on YouTube!”
SWer-NPC-FABLE (2022, 3:58) is a video performance filmed between my workplace of 9 years and former home that is a renegotiation of selfhood and personhood and the idiomatic phrases “becoming your work” and “taking your work home with you.” The dancer in lingerie is me aged 21; in exchange for filming that video that is projected there nightly, I got to work for free that night.
Unless the Outcome is Income: Animation (2026, 11:36) is a 3D-animated video that begins in a money-driven fishtank club simulator with damasked walls and a lap dance couch. The dancer drifts off, she thinks of morality fables, Puerto Rican nursery rhymes, memories of being treated poorly by romantic connections during sushi dinners, and her research at home for her next show. She researches things like Mamdani and Cuomo’s stances on prostitution, how “TAXI TV IS MAGA NOW”, and the Hooters CEO saying they want to bring the restaurant back to its family-friendly roots.
R-SHARK WOKE UP! (2024, 1:39) is a short 3D-animated recursive fable about a shark who has never seen his wife without first stopping at the bank.
Welcome Home (2022, 0:38) is a short 3D-animated video about a worker who is told by a shark, “Welcome Home,” upon entering work, and then is accosted by another shark that repeats, “She will not like you” when “She finds out what you are”. All of the 3D animations visually, somatically, and narratively investigate different components of affective labor through both my own experiences and my community’s experiences with the work.
Push for Help Episode 1: The Worship of Kitty (2021, 3:05) is a low-res 3D-animated work that tells the story of a man who buys a VIP room full of dancers and demands that each of them “try this cocaine, it is delicious.” The limbless dancers help each other fake it. The man admits, “I have not done anything good in a really long time.”
UNLESS THE OUTCOME IS INCOME: ROBLOX (2026, 9:28) is a game where you see “CHOICE 1” and “CHOICE 2” above a damask gamer chair and couch. Those choices lead to arbitrary scores, and the furniture transports her to different rooms, where she either engages in romantic connections or is paid for them. In both rooms, the avatar is moralized. Neither the rooms nor these exchanges are particularly important to the game. What matters is what she does at the end, when she is asked to donate, and how much. In-game, visitors can donate through their own verified 17+ Roblox accounts using Robux (Roblox’s in-world currency) by interacting with dancing NPCs at the end of the game. Fundraising and donations are against the platform’s policies.
Little Darlings, sick (2025, 1:22) is a game that emerged from an archive of strip club signage and ephemera from the pandemic. It is a video game built, coded, and designed in Roblox Studio, the popular children’s gaming platform with many possibilities for in-game glitches and controversies related to strip clubs and sex clubs as they continue to appear on the platform despite constantly “hiring moderators to get them deleted.” Every few seconds a red screen flashes with the text “FROZEN AND YOUR CLOTHES ARE ON THE FLOOR!” as a way to think through affective workers during police raids at clubs.
An Ode to the Exit Sign (2024, 4:25) is a game that thinks through the interpersonal vs. systemic issues sex workers face; the avatar walks through a long, damask and gold chandeliered hallway based on the one at the Ritz-Carlton (a client favorite) and a text-fable unfolds as the avatar keeps walking that reveals that the worker is done with trying to get her relationships to understand her work and marries her work instead. At the end of the game is a bug I haven’t fixed: gold fishes clone and duplicate around her, follow her, and sometimes they clone too much. When this happens, she flies into the starry sky, stuck hanging there. But sometimes, they enclose her in a hug, leading to a red 70% opacity sign filling the screen and reads, “THE END, GOOD WORK AND LOVE HARD!” which kills the avatar and puts her back to the beginning of the game again.
The Fables of Money-Driven FishTank Game (2023, 4:24) is a game where the fishtank and the club converge into one labyrinth where getting home, past many kill-on-contact underwater creatures and a nearly impossible-to-get-away-from shark is the goal. The avatar in this game is tired, coded to sit down constantly, and the player has to press the space bar to force her back up. The game is made more difficult by the day/night cycle: programmed to go through day/night every 15 seconds, and it can get hard to see at night. She can rest when she listens to fables of youth.