I had the pleasure of reviewing Josie Iselin’s “An Ocean Garden: The Secret Life of Seaweed” (Oregon State University Press, 2023) for Humanties and Social Sciences Net Online. Many thanks to Daniella McCahey for commissioning me to write this!
I performed a piece on big-wave surfing, gender, and petrochemical imperialism at Place Settings in Los Angeles on January 17. The event was organized by Anya Ventura and Laura Nelson and reviewed at the Los Angeles Review of Books by Danielle Monique.
I had the absolute pleasure of organizing and reading at a poetry reading at Cruise Control Cambria on November 19, 2023. Thanks to Gabriel Seaver, John Goodhue, Jordan Chesnut, and Kathryn deLancelotti for also reading, and to Charlie Smith for hosting us! Photo courtesy of Charlie Smith.
Jeremy P. Bushnell interviewed me about my music, poetry, archival approaches, and relationship to the ocean for his series The Wednesday Investigations, published on November 8, 2023. Photo courtesy of Kris Daum.
I gave a talk, “Sea-level Fingerprints, Perigean High Tides: Creative Feminist Approaches to Marine Science” in the Biology Seminar Series at Cal Poly San Luis Obispo on Friday, October 27, 2023. In this transdisciplinary talk, I discussed creative approaches to feminist marine science using concepts of relationality, world-ecology, and artistic research.
I performed three excerpts from my manuscript Hold Fast at the 2023 Geographic Indigenous Futures Symposium, Geographic Indigenous Futures of the Salish Sea on July 6, 2023. Many thanks to Dr. Niiyokamigaabaw Deondre Smiles for the invitation!
I co-edited, with Dr. Melody Jue, a collection of photo essays for the University of California Humanities Research Institute’s Foundry, Holding Sway: Seaweeds and the Politics of Form. These photo essays touch on Indigenous land and water management in the face of ongoing colonialism, legacies of militarism in the oceans, feminist friendships, and much more.
Performance and talk on chapter from doctoral research, “Ecotoxicology: The Santa Barbara Channel, the California Current, and Invisible Violences,” connecting oil extraction and feminist political economy on colonized Chumash land. Photo: Maya Weeks.
Presentation on preliminary research, “Seagrasses and Sound Pollution through a Feminist Lens,” on marine social science with creative methods at the California Estuarine Research Society’s Annual Conference as a California Sea Grant State Fellow, April 2023. Pictured, from left: Tanya Torres and Maya Weeks. Photo courtesy of Tanya Torres.
Wind Tide invited me to collaborate with them by contributing vocals to a song on their album Sings. It’s called “Weird Tide.” The gorgeous album came out on Cached Media in November 2022.
I exhibited at Dörren: Det visionära tomrummet/The Door: the visionary void at Vague Research Studios in Gothenburg, Sweden from October 7-30, 2022. A conversation between myself and Dörren/The Door curator Dr. Kajsa G. Eriksson is online on Vague Research Studios’ website.
Essay published in Zócalo Public Square, August 2022.
An excerpt of a poem, “Barnacle,” from Hold Fast, a book of poetry I wrote for my doctoral research, in Paperbark Literary Magazine Issue 03, April 2022.
Album, Tethers, out on Full Spectrum Records, December 2021. Available for purchase on Full Spectrum’s Bandcamp page as both a digital download and a limited edition cassette. Co-produced with Andrew Weathers with cover art by Gretchen Korsmo.
Ph.D. exit seminar on my doctoral dissertation using qualitative and artistic methods, “Death to Disposability: Marine Debris as Violence,” November 2021. Available to view here.
An excerpt from Hold Fast, “Niche Oceanographers,” in Smooth Friend, August 2021.
An excerpt of a poem, “from Purity Subscription,” from Hold Fast, in issue 17 of g u e s t: a journal of guest editors, edited by Melanie Dennis Unrau, June 2021. Available for purchase here.
Reflection on my artistic research in Bodega Bay as a Russell J. and Dorothy S. Bilinski Fellow at the Bodega Marine Laboratory on the UC Davis Coastal and Marine Sciences Institute’s blog, May 2021.
A poem from Hold Fast, “Hold Fast (Temporary Painting),” in Living Room Light Exchange’s Publication 5, Rare Earth: The Ground Is Not Digital, October 2020. Available for purchase here.
Excerpt of a poem, “Plastic Martyr,” from Myth of the Garbage Patch in Tarpaulin Sky Magazine, August 2020.
Two paintings, “I Have Been Being Demanded To Be Absolutely Tuned In To My Intuition At All Times” and “Adult Lamprey Sighted in San Luis Obispo Creek, Cries ‘Loosen Up’“ in Two If By Sea: A Journal of Water, Volume One, July 2020.
Reading from Myth of the Garbage Patch on Decentralized Sonic Quarantine Network, March 2020.
Presentation of excerpt from dissertation chapter, “Death to Disposability: Marine Debris as Violence,” at the UC Davis Feminist Research Institute’s Feminist Futures Research Symposium, January 2020. Pictured, from left: Maya Weeks, Mercedes Villalba, Anuj Vaidya, and moderator Clare Cannon. Photo: Maya Cruz.
Poem from Myth of the Garbage Patch, “Vortex of Light (Ice Memoriam),” in Energy Culture: Art and Theory on Oil and Beyond, edited by Jeff Diamanti and Imre Szeman, West Virginia University Press, 2019.
Essay, “On Marine Debris as a Form of Gendered Violence,” on the UCLA Center for the Study of Women’s Chemical Entanglements blog, February 2017.
Photo essay, “Art Amidst Disaster: Welcome to Microplastic Beach,“ in National Geographic Explorers Journal, December 2016.
Photo essay, “The Great Pacific Garbage Patch is Late Capitalism's Safe Deposit Box,” in Blind Field Journal, October 2016.
“Vortex of Light (Capital Accumulation in the Pelagic Zone),” performance lecture at Petrocultures Conference, Memorial University of Newfoundland, September 2016.
Chapbook, HOW TO BE ON THE OUTSIDE OF EVERY INSIDE / HOW TO BE INSIDE EVERY OUTSIDE, on these signals press, 2016.
Essay, “Closed Loop Dead Matter: How Trash in the Ocean Is Affecting Our Lives on Land,” in GUTS Canadian Feminist Magazine, November 2015.
