Over the past ten years, I've had the great pleasure of collaborating with several Baltimore-based musicians to create music videos. Here are some that I’ve directed:

"Carpenter" Muscle April 2025 | Cinematography: Amy Oden & Danielle d'Amico

"Jason Hatred" Romantic States | February 2020 | Cinematography: Taylor Hebden

"Your Heart Claps For Me" Gloop | August 2019 | Cinematography: Taylor Hebden

"Something to Say" Santa Librada | April 2018 | Cinematography: Taylor Hebden | Second Camera: Amy Oden

"Never the Same" Gordy Manny | November 2017 | Cinematography: Danielle d'Amico

"Give Up" End It | September 2017 | Cinematography: Danielle d'Amico

"Early Morning" The Holy Circle | April 2016 | Cinematography: Danielle d'Amico

"Say It" War on Women | 2015| Cinematography: Danielle d'Amico | Edited by Brooks Harlan

Virtual reality - 180-degree Film

01:50

2019

(Content Warning: Simulation of self harm)

Spilt is a 180°, first-person virtual reality experience where the user embodies a decapitated version of my body. Within the simulation, a white, cotton boundary is transgressed and a vulnerable orifice that blurs the inside and outside of my body comes under threat. The work is inspired by Julia Kristeva's writings on abjection, specifically the breakdown of barriers between the subject/object and inside/outside of the body. 

Throughout the medium’s history, Feminists have considered virtual reality for its potential to create a nonlinear, non-hierarchical way of communicating and exploring female subjectivity, but had their doubts given the patriarchal structure of the programming behind the technology. Spilt is a subversive work that aims to undermine and question the corporate trajectory of VR as a medium for narrative storytelling.

Experimentation with video performance and augmented reality (AR) utilizing a publicly available AR filter created by Craig Lewis. With the AR filter, I’m transformed into a mouse-woman hybrid character who monologues on the social media platform, Instagram - mainly at night. The linked video compilation is a curated selection of these videos.

Two-channel installation film & olfactory component

04:41

2021

The Sky is Coming is a multisensory two-channel video installation that depicts an ecosexual encounter between a thunderstorm and its human lover. A spunky smelling perfume created from the blooming Bradford Pear Tree serves as an olfactory component. This work ponders the technological mediation of our natural surroundings and the erotic forces at play in the efforts to erode anthropocentricity.

The installation premiered in the group exhibition Home Bodies (April 13 - May 7, 2021) at the Center for Art Design and Visual Culture at University of Maryland, Baltimore County. The film has since screened at Gardenship in Kearny, NJ and as part of MoCA L.I.ghts in Long Island, NY. 

Written, Directed & Edited by Danielle Damico

Photographed by Amy Oden

Acted by Aidan Spann

Production Audio Engineer Safiyah Cheatam

My human character is a fulgarophilic - someone who is sexually aroused by thunderstorms. Ecosexuality refers to intersections between sexology and ecology though it is popularly used to describe humans who engage in sexual or sensual relations with elements of the earth. The ecosexual movement utilizes an intersectional approach that breaks down the intimidating guise of mainstream environmentalism and allows for people to come together to celebrate and connect with the earth in a way that emphasizes community building and reciprocity. 

The ecosexual movement is included in queer ecological scholarship which examines how humans are included in (not separate from) a natural world and its systems that are ever changing as the result of social and historical influences. The Bradford Pear tree is a hybrid that was created by scientists in Prince George’s County, Maryland in the late 1950s. Envisioned as a decorative, durable tree that could survive various conditions, it was planted all across America starting in the 1960s. Today, the Bradford Pear is considered an invasive species. The root structures of the clones choke out nearby native plants and the supposedly “sterile” trees can reproduce through cross-pollination. The scent of the Bradford Pear tree is popularly associated with the scent of human ejaculate and thus I’ve used them as a metaphor for how we sensually engage our environment. 

The two channel film concludes with a ‘facial’ which is a euphemism for the act of ejaculating on someone’s face. From a sex-positive feminist perspective, I interpret and have constructed the facial in this particular romp as a playful act in which both giver and receiver are enthusiastically consenting. At the same time, I acknowledge how this conclusion could be interpreted as an act of degradation or a power play. Storms have the ability to overwhelm, devastate, and at the very least instill fear in humans, partly because they’re beyond our control. Yet, we know that human-related climate change has manifested in drastic shifts in weather patterns. The intermittent fast-forwarding (and rewinding) of the storm by the human character meditates on our role in that equation while alluding to the ways we watch video content on our mobile devices. The cell phone video as a medium  recognizes that the digital tool, the body, and the resulting images are entangled, rather than separate, entities.

Three-channel installation film

09:17

2019

In What to Expect When You’re Expecting, a woman who has been scientifically impregnated with the eggs of the endangered Loggerhead sea turtle nests on the beach one night while a local news crew provides live updates on the oviparous process. 

This speculative fiction vignette poses the question: are we as humans willing to forgo having human offspring in order to help grow the populations of endangered animal species? Species that our earth damaging practices have had a direct hand in depleting? The film explores feminst scholar Donna Haraway’s idea of “worlding-with” and her writing on multispecies feminism, which suggests making kin with nonhuman species as a way to be responsible to each other.

Additionally, this work was born out of a mild obsession with the 2009 media trajectory of Nadya Suleman, a.k.a Octomom, who gave birth to octuplets as the result of in vitro fertilization. In our pro-natalist society, the tabloids and their followers initially praised Nadya’s super fertility, but were quick to scold when it was discovered the pregnancy was a result of corrupt medical science and that the single mother was on welfare and already raising six other children. The three channels present the audience with the action unfolding from three different vantage points: one is the media spectacle.

This project was supported by the Johns Hopkins Saul Zaentz Innovation Fund. The installation premiered at Baltimore's Mercury Theater in November 2019. The three-channel film screened as part of the 2020 Ars Electronica .ART Global Gallery (online).

Cast:

Shantall Gallareta

Brandi Dyer

Steph Joyal

Producer: Brandy Creek

Writer & Director: Danielle Damico

Cinematographer: Taylor Hebden

Assistant Camera: Natasha Marshall

Audio Engineer: Gabby Sturgeon

Gaffer: Tom Faison

Production Assistant: Lauren Flynn

Editor: Danielle Damico

Post-Production Audio Engineer: Mickey Freeland

Motion Graphics: Rachel Dwiggins

Single channel video (loop)

01:21

2017

An umbrella burns at the beach and on concrete. 

This video was exhibited as part of the Art of Women Invitational (Anne Arundel Community College, 2018) and Light City: On Demand (Baltimore, 2018).

03:45

2016

Experimental narrative about transforming one crustacean species into another crustacean species through prayer. 

Producer: Katelynn Zimmerman

Writer & Director: Danielle Damico

Cinematographer: Brandy Creek

Audio Engineer: Katie Shelton

Production Assistants: Paige Creek, Kai Stone, Ashley Brinegar 

Editor: Danielle Damico

Score: Flynn DiGuardia

Screened at Washington ArtWorks (March 2016) and during the Baltimore Film Fatales Panel at Maryland Film Festival 2017.