2015. 16 mm film, video, projection, hand cranked optical soundtrack, vitrines, objects. 5 min. 30 sec.

The projection is adapted to the architecture of each site to create an immersive environment. 
The projection is presented with objects and text that function as signifiers to the landscape in the film. The objects in vitrines are situated between the projection source and wall to obstruct the pathway of light. As a result silhouettes are cast upon the projection and imagery from the projection is dispersed around the space to create an environment for the narrative to be experienced. The work at large is activated by the viewer as they physically navigate and piece together clues that unfold the history. The physical act of exploration plays a significant role in my practice, utilizing the mechanical functions of the camera to mimic the means in which the body relates to its environment. The perspective, sequence, and rhythm in which technology is used, relates back to a reference point of the universal onlooker navigating an future past topography.  
 

2016-present. video performance series 
From October 2016 to January 2017, I conducted a four month stint of travel in the Arctic Circle during the period of darkness, when the sun sinks below the horizon. During this time, I wandered remote landscapes where I began to develop a fantastical narrative. The video performances exhibit different time traveling characters that explore an alternate planetary environment prompted by sensorial responses to the environment that occurred during the act of physical exploration. Characters perform different activities based upon their own specialized mode of understanding the universe through sense and logic. Since the initial visit, I have returned and continue to work at specific sites on this ongoing project. 

2016
“Lakeland Chronicles” was a solo exhibition inspired by the means in which we create document, locate artifact, and construct histories.  The exhibition included a series of black and white silver gelatin photographs mounted on wooden panels and small individual shelves containing fastened magnifying glasses for viewing the details of the images. The photographs were originally selected from the Library of Congress, digitally modified to extract information, and transferred to digital negatives used for darkroom printing. To each photograph, characters and objects were omitted. The center of the gallery was location to two 4 sq. ft. museum platforms housing two object arrangements. The first platform contained the omitted objects from the photographs that were either fabricated or found, while the adjacent platform contained plaster footprints made with forensic techniques used to track down unknown persons. Numbers under the photographs corresponded to those on the platforms, to draw the connection between the image and evidence. In the vicinity of the photographs, poetic, directional text, and handout of a map to offer further clues to the stories while leaving the narratives open for interpretation. I see this piece an as a playful excavation. Objects are presented using museum vernacular that reinstates truth, while the photograph is able to subvert. 
 

2015. unique chromogenic color prints . 8 x 10" each

In a light tight room a series of images of utopian landscapes were projected with a combination of choreographed. Different sized homemade pin hole cameras were placed inside the room. Each containing color photo sensitive paper, a series of exposures from 5 to 25 min. were made. The recorded projections create new compositions that materialize through the magic of photography. The series is inspired by a scene in the Dune trilogy by Frank Herbert where a seer contemplates the temptation of a hidden paradise in midst of a planet surrounded by desert wasteland.