This installation was performed with members of Raw Silk. Made from a 100-foot roll of 16mm film shot in the Walters Art museum, the objects seen in the film were illuminated with conservation-appropriate lighting. The footage maps archaeological eras through chronological and proportional 16mm footage -- each frame of the film represents approximately 1.6 years. The emulsion was then subjected to processes like bleaching, burying, soaking and scratching inspired by technological, geographic or geological events associated with archaeological periods and eras dating back to 4500 BCE (the age of the oldest object documented in the film.) (Camera/Editor/Director)

A short documentary about places and traces -- abstracted phone booths become increasingly legible as the catalog of information about a father and son grows. This piece asks us to consider the nature of the artifacts we leave behind, particularly audio voicemails, a digital artifact, recorded and performed, with expectation of being quickly deleted. (Camera/Editor/Director)

An experimental documentary film, non-narrated and observational, that looks at the historic and economic vestiges embedded in gesture and landscape in a rural region of North Carolina. Yields meditates on the failure of industrial promise through a series of short vignettes that aggregate to express how absurdly intertwined a place can become with what it produces. The film is a meditation on sound, landscape, and labor in a rural economy abruptly severed from its historical connection to the production and processing of poultry. (Camera/Editor/Director)

A nonfiction film about my father, archives, the nature of conversation and dealing with unexpected loss. A toy airplane and the filmmaker's deliberate break with the rules of filmmaking become reoccurring themes.

This installation used text, projections and tvs as mediums to come to terms with my father's untimely death.