Torn Landscape (2008)

A live audiovisual improvisation created during a residency at the Experimental Television Center. Sound waves are created on a vintage analog +- 5 volt synthesizer, the audio is then fed into a computer and its amplitude and pitch modify the shape and scale of a rotating 3D object. This moving computer image then acts as a mask for the electronic visual image from the analog synthesizer suggesting a sonic and visual tearing of surfaces as the frequency and mix of the wave patterns are manipulated live.

Scenes From Next Week (2005)

Scenes From Next Week is a self-portrait that is set one week in the future – a pre-enactment. It shows life’s most mundane daily activities: laundry, commuting, eating and grooming, in the style of a television teaser, alluring viewers to tune in next week. The piece investigates the gulf between life as it is experienced, and its dramatic and exciting representation depicted on broadcast TV.

Unpromised Water (2004)

A reverse ethnographic documentary that observes a newly discovered tribe of “savages” living on an island off the coast of San Diego. It subverts the traditional ethnographic film by putting American culture as the exotic curiosity; it views our own culture as the “Other.”  Twelve weeks of MTV’s Real World San Diego is used as the found footage for this piece. This piece was inspired by and often references Luis Buñel’s Land Without Bread.

Residence (2004)

Residence is a silent experimental video that examines location from an internal and external perspective. A quad-screen surveillance monitor pries into the psychological and physical space of the subject. The film as a whole looks at the relationships between interior and exterior worlds that create strange relationships between our behaviors and desires.

In-n-Out (2003)

Examines the fickle nature of trends in American culture by using a mechanical, repetitive machine to determine the latest taste.

Yerevan Conversations (2002)

Residents of Yerevan, Armenia were filmed while asked targeted, sensory questions about describing their place and its meaning (their body, this room, this street, city, country.) Participant responses were then joined with a variety of my own images, motion graphics and audio, relevant to the participant’s words and gestures. The result is a documentary poem mapping personal landscapes - a collaborative dialogue in video between artist, participants, and viewer.

One Arm Bandit (2002)

Employs a Las Vegas style slot machine to disseminate shards of marketing slogans instead of cherries or numbers, raising the questions, who has taken control of this machine? And what are we really winning?

Still Life In Fifteen Rounds (2001)

This video depicts the mental discomfort from thoughts of self-doubt and opposing decisions. It is a self-portrait that explores the role of text and audio in assigning meaning to the visual image.

The Shooting Cure (2005) a visual essay

The Shooting Cure is a single channel video that examines the Hollywood action blockbuster Bad Boys II in the social, political and historical context of its time.