I work with expanded cinema, experimental film, video art, installation and public intervention. My goal as an artist is to affect the electromagnetic energy of my audience through subliminal manipulation of the subconscious. I achieve this in large part by co-opting the same strategies and cinematic devices used by mass media and advertising, such as the formulaic use of light and sound cues, and the time-tested technique of embedding hidden messages in single film frames. I believe there is tremendous power in the unseen, and I exploit that through the hidden mechanisms in moving images.
I also love creating a spontaneous artistic experience in public places, where people will stumble upon the art in the course of their daily lives. Much of my current art practice is devoted to site-specific public art interventions in public venues outside of traditional art spaces.
My process is a combination of primitive craft, appropriation, and hybrid technologies. I often mark on appropriated images that have served as cultural icons and change their meaning. I create direct film animations, investing hundreds of hours of real-time to color and scratch frame by frame upon celluloid, yielding three minutes of screen-time. The product at the end of that laborious task is a distressed, fleeting image that leaves the audience unsure of what they saw and didn’t see, creating a rich and fertile ground for questioning.
In my public intervention and site-based installation work my vision is to establish archival existence in the collective experience, propel the cinematic image beyond its conventional venues and free the viewer from predisposed expectations about how to look at film. Defying the standing assumption that art is created primarily for commercial consumption or archival conservation, I often tear apart one work to create another from the same footage, or project original works until they deteriorate.
I am very excited by time-based experiential work that expands beyond visual art as an object, though I do explore the physicality of celluloid as an object. Experiments with multiple projections have figured prominently in my work, as have multimedia collaborations with performance artists, installations that involve nature and the outdoors, and interventions in various public and social spaces.