Installation and interactive experience – The Dining Room

The Dining Room, casually viewed from a distance, is pleasant and unremarkable. A diorama of domesticity, perhaps as you might see in showrooms or through windows in so many neighborhoods. The viewer approaches a window hanging in midair. Across from her is a vintage mirror, placing her in the room. The dining table with four chairs and settings. White plates. Upon closer examination, the plates were cracked and broken ages ago, and glued back together—carefully yet imperfectly. Once broken, never made whole again. Beneath the table and chair is a large shag rug. But it’s not shag, it’s shattered crockery piled ankle deep.

Each time the Dining Room is installed, it is co-created through the action, energy, grief and all the emotion the public brings to the moment.

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The Dining Room, perspective shot


The Evoco project is an ongoing, multi phase project about how we create, hold, interpret and alter memory, as subjective experience and as a neurological process.

A dancer’s form is altered with flowers and painted with sumi. The impressions taken from this are interpreted later in recollection and painted with gold leaf and paint.

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Evoco paintings, mounted on scrolls…

Midori with Evoco model


Title:   Anubis
Date: Aug 2015
Dimensions:   9′ tall x 3′ x 2′
Medium: Steel, flowers, rope, wire

A 9′ tall sculpture of Anubis, the Egyptian God of the Dead, made of fresh cut flowers densely arranged onto a steel skeleton, stands on a stage of loam, dirt and leaves. The flowers, initially fresh, decay and dessicate over the duration of the six week long exhibition. The olfactory element is an important component of this piece.

Originally created for the group show, “Dog & Pony Show” curated by Michael Manning at the Antebellum Gallery in Hollywood, CA.

This piece is intended for interior or exterior exhibition.


Midori in front of Anubis

Dog and Pony Show poster Midori adjusting dried vegetation Closeup of wilting vegetation Anubis with blue light Anubis from below

Plastics: The LoveSeat Effect

Blow up dolls: they’re sold all over the world in sex shops and catalogues. Who buys them? Nobody ever admits to buying one, let alone using one, but still they are produced in vast quantities, in sweatshops of developing nations, producing byproducts of pollution as they manufacture the desire byproducts of shame. Constructed to represent fetishized image of pornography, which in turn are commodified representation of a media idea, which in turn are produced as idols to a hungry culture fed on individuals’ insecurity, fears and inadequacies.

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The LoveSeat in a gallery

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