Whitney Biennial 2026

In the center of the gallery is my installation piece, “Kong Play”, which consists of 100 small ceramic sculptures of Kongs arranged in clusters and loose lines across a large, low, oval shaped platform. Each sculpture resembles three or four rounded shapes stacked vertically, like tiny abstract snowmen or butt plugs. They are painted bright, solid colors including red, orange, yellow, green, blue, purple, pink, and gold, creating a playful, colorful field against the white surface. The walls of the gallery are curved and painted pale blue, with 11 framed drawings on display.
“Kong Play”, 2024, dimensions vary, acrylic paint on 100 ceramic sculptures.
A simple line drawing on cream colored paper in a light wooden frame. In the lower middle of the page, is Emilie with peach skin and brown hair, lying on the ground with their knees pulled up to their chest. They are facing right towards London, a blonde English Labrador Retriever, who is lying on her side with front paws stretched out towards Emilie, as if their paws and hands are touching. Around them is a loose ring of red, black, and white daisy flowers, and thin pink worms wiggling amongst them. In the sky above, is a pale blue crescent moon with two yellow stars, one on each side of the moon.
“Return Under the Moon with Worms and Flowers”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A minimalist drawing on cream-colored paper in a light wooden frame. Emilie and London are lying on the floor in the living room with a pale gray couch at the upper left area of the drawing. A horizontal line extends from the right side of the couch to the end of the paper, suggesting a floor. On the lower right area of the drawing, London lies on top of Emilie, with their heads on the left, and their legs and feet to the right. Beneath them is a grayish purple rug with fringes all around its edges.
“Surrendering to You”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A minimalist drawing on cream-colored paper in a light wooden frame. Near the top center of the drawing, is a gray two-cushion sofa, with four short dark stubby legs. A single horizontal line runs behind it and extends across the width of the drawing. In the lower right area, a rectangular purple rug is drawn with short, sketchy fringe all around the edges. Emilie is lying on the rug, with London on top of them, completely blanketing Emilie’s body like a weighted blanket. Emilie’s arm is bent, and wrapped around London’s back and shoulders in an embrace. Emilie’s facial features and short dark hair are indicated with quick, simple lines. The rest of the paper is blank, emphasizing the sparse sofa and the solitary figures lying on the rug.
“And You Alone”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A colorful drawing in a light wooden frame. The background is filled with loose blue gray vertical strokes, creating a soft, wavy midnight sky. Scattered across this background are many small, hand-drawn yellow stars with black outlines and a single small blue circular Moon near the upper left. In the center two nude, pale peach-colored figures face each other. On the left is Emilie with short brown hair and simple facial features, standing upright with arms at the sides and bare feet slightly apart. On the right is London, floating upright with a long snout, floppy ears, and a tail, standing on her hind legs. A light pink umbilical like chord stretches between them, connecting from Emilie’s belly to London’s belly. The scene feels quiet and dreamlike, with the two figures floating among the blue strokes and yellow stars.
“Co-Shaping One Another with the Moon”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A simple line drawing in a light wooden frame of three Labrador Retrievers drawn with thin black outlines, each with a long tail, short legs, pointed snout, and small triangular ears. The three dogs are arranged in a loose pyramid. The top-left dog stands upright on its back legs with its nose tilted upward. The top-right dog faces it, also with its head raised and a small pink tongue sticking out. Between their snouts and tongue, is a orange kong levitating in the air above them. Below them, the third dog is positioned more vertically, with its body curved like a comma and its head tilted upward toward the other two dogs. All three have small, simple facial features and tiny paws. The background is completely blank, emphasizing the minimal, playful style.
“Reaching for Heaven”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A minimalist drawing on off‑white paper in a light wood frame. In the center of the page, are Kirby, Emilie and London arranged horizontally in a loose S‑shaped curve, floating against the blank background. At the top is London lying on her stomach facing to the right, with her front legs stretched forward and back legs extended behind. Her tongue hanging out and licking Emilie’s foot. Slightly below London is Emilie with light skin, short brown hair, and wearing light-colored underwear. Emilie is lying on their stomach, also facing right, with arms reaching forward toward Kirby's head. Kirby has light skin and darker, short hair, and is lying on his back and facing left towards Emilie. He is also wearing light-colored underwear. One arm bends upward towards Emilie, and his legs are very long and hairy. The drawing style is loose and childlike, with thin, uneven outlines and soft, pale colors. The rest of the paper around the small central scene is empty.
“The Menage A Trois”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A framed drawing on off-white paper with simple, childlike lines and soft colors. In the lower center, Emilie with short brown hair sits on a pale gray rectangular surface, facing right towards London who is lying in her brown bed. London leans towards Emilie, licking their face with a long pink tongue. To the right, there is a pale pink bed shown from above, with four thin dark legs. On the bed are Kirby’s very hairy legs stretching diagonally from the upper right toward the center. At the bottom left on the floor next to Emilie, is a small orange ball floating alone against the empty background.
“Caring For London At the Foot of the Bed”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A cream-colored drawing paper in a light wooden frame. Along the upper third of the page, a loose row of slender pine trees are drawn with thin black trunks and sketchy green pine needles that look as though they are being blown through the wind. Near the center of the page, four small orange butterflies are scattered diagonally, as if fluttering from the trees toward the lower right. In the lower right corner, Emilie is shown lying down on the forest floor, curled up next to London. Their eyes are closed and their hands are clasped near their faces. A few tiny yellow flowers are drawn around their heads and around their bodies, suggesting a quiet, resting or dreaming moment.
“Becoming Part of the Forest”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A minimalist drawing in a light wood frame showing a forest scene on cream-colored paper. On the lower right side of the drawing, Emilie is lying down on the forest floor surrounded by light green and yellow clover. One arm bent over their head and the other reaching forward towards London, who is lying down in front of Emilie. Emilie’s hand rests on London’s back. In the background, along the top of the drawing, is a loose row of tall pine trees. Near the bottom left corner, several tall yellow-green grass blades rise from the edge, each topped with a small pink flower. Two orange butterflies with black outlined wings float near the upper center-left area of the paper.
“Becoming Part of the Forest II”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A simple line drawing in a light wooden frame of two nude, anthropomorphic figures in the center. On the left is Emilie with a dog’s body, with 4 nipples on their torso, dog arms and legs, and a long tail. Emilie has short brown hair, a friendly facial expression with open eyes and a small smile. The arms extend outward and slightly down, and the legs are apart. On the right is London with a woman’s body, with two breasts, a belly button, and pubic hair. Both figures are turned towards each other with their hands reaching towards the other.
“The Marriage of Hand and Paw”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.
A childlike drawing on cream colored paper in a light wooden frame. The scene shows Emilie and London standing upright facing each other in the center, as if meeting in a clearing. Emilie has short brown hair, a simple pale outfit, and long, slightly exaggerated arms reaching toward London. London stands on two legs, has a long tail, and nipples on her torso, and is holding out a purple butterfly towards Emilie. Around their feet are small, loosely drawn flowers in purple and pink, and a tiny red worm-shaped line near the bottom. On the left side, three thin tree trunks support rounded clusters of green leaves, with a few tufts of grass and a brown, banded snake-like shape on the ground; small fire flies hover near the trees. On the right side, a single slender tree with a leafy green top stands near a patch of grass. There is a pale blue circle above the left trees and an orange circle above the right tree suggest a simple sun and moon in the sky. The background is otherwise blank, giving the drawing an open, airy feeling.
“In Dreams We’ll See Again”, 2025, 23″ x 35″, ballpoint pen and crayon on paper.