These projects show early experiments in hybrid forms of emerging media with materials.

Last Hour of Analog TV, 2009
la_alma, 1999
Lemons Making Their Own Lemon Meringue Pie, 2007
CLEAN, 2007
dedos, Interactive Hand Creme, 2001
Bride, stripped bare, 2001
a conversation, Hansel + Gretel, 1994

Like the magnetic head of a tape recorder reading a cassette tape, viewers are invited to draw audio in order to hear citizens of Prague remembering their former Communist past. Sensors are hidden behind vandyke prints that eventually fade, archiving the listeners. The project features Czech artists who were imprisoned or in exile such as Fluxus artist Milan Knizak and Milos Voytechovsky.

Interactive Audio Installation, dimensions variable. Unfixed vandyke prints on rag paper; 40 7x7" force sensing resistors (trackpad-like sensors); speakers, analog to digital converters; apple laptop; Isadora and OSC software. Software programmed by Mark Coniglio with voltage to digital converter by Sukandar Kartadinata designed in collaboration with the artist. Special thanks to J. William Fulbright and CEC Artslink International.

Lipstick and cosmetics made from waterways that enter the Chesapeake Bay. Hand crafted by the artist.

Iâ??ve wondered about how the romantic idea of nature is shifting and have been exploring ways to make surrounding water visible and audible. So for the Inner Harbor docks of the Baltimoreâ??s Transmodern Festival, I hand crafted watercolor pigments from water that feeds into the Chesapeake Bay. I created various brown, ochre and red-brown paintings, including postcard paintings that I displayed on a spinning postcard rack on the docks of the Harbor. The public was invited to make a painting to keep, or to donate it to my postcard rack. While people were painting and looking at the paintings, I collected 5 gallon buckets of water off the docks we were standing on, for both the painters, and to demonstrate the process of turning the surrounding waters into quality pigments. In addition to inviting the public to paint, I made kits and mailed them to artists such as Alison Knowles (Fluxus), Irene Chan, Mark Luce and others, who donated their paintings created from these pigments to the postcard rack.

Along with most Americans in Spring 2010, I watched BPs Deep Water Horizon rig generate a massive oil spill devastating the Gulf of Mexico. On June 9, I went out on a small fishing boat in Bastian Bay, Louisiana with fisherman Captain Patrick, and collected both oil slicked water and oil that was dispersed with chemicals. When I returned to Baltimore, I used the collected oil towards traditional marbleizing techniques and made over 20 Marbleized papers and over 50 marbleized postcards. The over 30 images and 2000 word narrative that document the experience will be published by the Center for Art Design and Visual Culture (CADVC) in 2014.

The viewer approaches a series of red and yellow ochre prints, patterned in a grid, with clean edges and texture within the edges. They may soon realize that eLAND is a series of etchings embedded with a code. If the viewer selects the code a photograph of the landscape where the pigment they are viewing appears on their smartphone or tablet. Furthermore, the code is made up of pigment mined by artist from the discards of contemporary and ancient mining sites in the Australian outback. Additional information such as navigational GPS points and live stock quotations displaying an up-to-the-minute value of the pigment (South Australian iron ore), and other relevant mining and economic information.

I'm currently completing the final and largest dimensional etching that will be editioned for this series, making it a series of 4 editions including 1 tryptic and 1 quadratic.

A series of intaglio prints where a 19th c. non-mechanical drawing machine (a harmonograph) draws on the etching plate. Pigments were collected by the artist in the Australian outback from discards of both ancient and contemporary mining sites. These sites followed the Dieri tribe's songline, a pilgrimage path, in South Australia where pigments were collected for a millennia.

The harmonograph is a 19th c. invention, a non-mechanical drawing machine that uses gravity and momentum to produce a continuous mathematical line. About a dozen 12x12" intaglio plates are ganged 6 plates per print, in order to produce 6 mono prints at 36x60".

This harmonograph was designed by Karl Simms and produced by Lukeworks, Inc., in collaboration with the artist. See the video for an example of the harmonograph drawing on an etching plate.