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VISCERAL HOME
COLLECT ART
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VISCERAL HOME
COLLECT ART
LARGE-SCALE
SMALL-MEDIUM SCALE
SOLD ARCHIVE
ART PROCESS
COMMISSIONS
DESIGNER TRADE
OUR PHILOSOPHY
contact
Folder: COLLECT ART
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LARGE-SCALE
SMALL-MEDIUM SCALE
SOLD ARCHIVE
ART PROCESS
COMMISSIONS
DESIGNER TRADE
OUR PHILOSOPHY
contact
AVAILABLE ART no strings attached
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no strings attached

$4,000.00

MINERALS / MEDIUMS:

four layers of plaster + concrete + sand + ground/powdered crystal quartz, jasper, and tiger eye grounds + arizona rock pigment (glen canyon) + rock pigment from Roanoke, VA + iron + rust on canvas.

to which we then installed a piece of driftwood we foraged on Sullivan’s island. charred + preserved then utilized as a loom for macrame cotton and jute cord gathered, knotted and weaved. this piece is housed in a handcrafted shou sugi ban oak wood frame connor charred, and preserved. learn more about our shou sugi ban process: here.

DIMENSIONS: 50w x 38h x 3d

she is an ode to our eternal fascination with the diverseness of different textures and materials harmoniously united together like they were aligned to cohabitate.

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MINERALS / MEDIUMS:

four layers of plaster + concrete + sand + ground/powdered crystal quartz, jasper, and tiger eye grounds + arizona rock pigment (glen canyon) + rock pigment from Roanoke, VA + iron + rust on canvas.

to which we then installed a piece of driftwood we foraged on Sullivan’s island. charred + preserved then utilized as a loom for macrame cotton and jute cord gathered, knotted and weaved. this piece is housed in a handcrafted shou sugi ban oak wood frame connor charred, and preserved. learn more about our shou sugi ban process: here.

DIMENSIONS: 50w x 38h x 3d

she is an ode to our eternal fascination with the diverseness of different textures and materials harmoniously united together like they were aligned to cohabitate.

MINERALS / MEDIUMS:

four layers of plaster + concrete + sand + ground/powdered crystal quartz, jasper, and tiger eye grounds + arizona rock pigment (glen canyon) + rock pigment from Roanoke, VA + iron + rust on canvas.

to which we then installed a piece of driftwood we foraged on Sullivan’s island. charred + preserved then utilized as a loom for macrame cotton and jute cord gathered, knotted and weaved. this piece is housed in a handcrafted shou sugi ban oak wood frame connor charred, and preserved. learn more about our shou sugi ban process: here.

DIMENSIONS: 50w x 38h x 3d

she is an ode to our eternal fascination with the diverseness of different textures and materials harmoniously united together like they were aligned to cohabitate.

 

NO STRINGS ATTACHED is a visual exploration of the transformative moments in life that shape us. This piece delves into a journey of unraveling: letting go of knots formed by upbringing, self-perception, choices, and events that could easily define but ultimately do not confine us. Each knot tied or loosened reflects facets of anger expressed in fire, grief set in plaster, and regret imprinted on the trees felled to create the foundations we now stand on. This work invites the viewer into a complex landscape of emotions—unanswered questions and unarticulated feelings, framed and displayed, while love transforms into yarn and is woven into fabric, leaving imprints of memories we might wish to erase.

Months went into creating No Strings Attached. Each stroke and mark reflect the slow wrestling with perfection, a persistent self-doubt, and the mounting frustration with life’s many paradoxes. Yet, within that doubt lies a powerful potential to connect, to remind others that they, too, are not alone in their struggles. This process offered a reminder that human connection, empathy, and vulnerability can transform us when we allow ourselves to be seen and understood. Though my voice may feel small, I’ve come to recognize its resonance in harmony with others, amplifying the message of worthiness and healing.

This work embodies my evolving sense of alignment, even when life unfolds unexpectedly. In the past, career-related anxieties often led me down paths that felt defining, each one seeming like the “moment that transforms me.” I saw success as a key to unlock the mysteries of self-worth, a way to escape the wounds of my past. Over time, I pursued various careers, convinced each would save me or fulfill me, unaware that I was evading a deeper need to understand myself fully. Eventually, I realized that genuine self-love exists without the stings of perfection and achievement.

Throughout my life, survival meant financial security, silence, and distancing myself from the discomfort of unresolved pain. Adapting to others’ ways of coping and hiding led me to believe that by blending in, I could eventually find true happiness. Yet, therapy and self-reflection have taught me that avoiding reality only perpetuates the cycle of survival mode. Now, I’m learning to respond rather than react, to pause rather than flee, and to confront my fears and self-perceptions directly.

As I unravel each string, I discover that healing is about reweaving those strands into something new—a narrative that is not just about survival, but about becoming. By embracing the authentic self I am slowly uncovering, I’ve found a renewed sense of purpose in connection, empathy, and art. No Strings Attachedcaptures this essence: the quiet, powerful transformation that comes when we no longer let our past bind us but use it to inspire and uplift ourselves and others. Each knot, each thread, is a testament to our shared journey toward liberation.

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