Multichannel video and audio, ink on acetate film, restored video devices sourced from Baltimore, Deleware and Virginia, Generative animation, creative coding, video cameras, and custom built circuitry  

Signal Remains is a living network of CRTs (Cathode Ray Tube), LCDs, and other screen-based devices collected from Baltimore and the greater DMV area. Many originitated from former industrial and commercial sites before being restored and revived in collaboration with Baltimore television repair professional Calvin Adler. The work traces the technological and industrial histories embedded within the materials, reanimating Baltimore's past through light, signal, and feedback. Each screen functions as both archive and collaborator, reflecting the city's ongoing story of labor, obsolescence, and repair. 

Wooden pallet, multi-channel video sculpture, multi-channel audio, inkjet on acetate film, LCDs, CRTs, Portable Car Screens.  

All Electronics were found and salvaged from across the Baltimore and greater DMV area

Electronic Pallet is an ongoing project that grew from my research into electronic rycling systems and global waste circulation. The title references the practice of stacking CRT and LCD screens onto pallets for "recycling," often leading to export rather than renewal. Inspired by the Basel Action Network and MIT's electronic tracking studies, the piece reimagines these pallets as sculptural forms made of wrapped, discarded devices. The installation changes with each presentation, combining Living, Injured, and Dead electronics in layered arrangements that expose the cycles of consumption, concealment, and displacement. 

The videos on the Living screens are just one component, extending this inquiry through multi-screen improvisation and signal feedback, revealing the environmental and ethical dimensions of technological excess.

The audio for the videos on the screens allows the viewer to walk 360 degrees around the piece and experience different audio at different times in the room

One abandoned mall monitor, single channel audio and video, generative animation, urban mining, 

Abandoned Mall Monitor examines cycles of technological obsolescence, labor, and environmental degradation through the lens of retail architecture and display technology. Using a salvaged mall monitor display, speculated to have originated from an abandoned Mall in Maryland, the work reanimates the screen as both research object and projection surface. The video integrates archival footage, environmental documentation from global e-waste sites, and analog feedback generated through modified video signal systems. The video transports viewers to the abandoned mall in Owings Mills, Maryland, descending an escalator into an abandoned media store designed by my father, filled with empty shelves, broken glass, and traces of a forgotten past.  

Experimental Film and Video/Sound Installation

A multichannel video and sound installation featuring a cluster of black-and-white Panasonic security monitors, each showing a cheetah, surrounding a restored television placed on a plinth of stacked concrete masonry blocks. For me, the cheetahs act as guardians of the resurrected set and share a lot more in common with old technology than we think.

The visuals begin on CRT screens using restored 1980s prosumer devices and homemade mixers, where I capture feedback, interference, and generative textures before refining the source footage. Motifs from the natural world recur, especially the cheetah, which suggests resilience within a shifting technological landscape. Abstract planets, spheres, and saturated color build a surreal motion study, shaped by a three-movement original score.

The installation reflects on obsolescence, sustainability, and the ties between signal and living systems. The central “Dead” television was resurrected with help from Baltimore repair professional Calvin Adler, turning it into a Living tribute and a nod to the power of repair. The research behind this work is influenced by global electronic recycling infrastructures and their effects on human and environmental health.

Short Film and Video Installation

Transmission Override is an experimental short film composed through what I call Living, Injured, and Dead Technologies, a conceptual framework that guides both my process and my relationship with media. Living devices actively transmit and receive. Injured devices glitch, distort, or falter with unpredictable beauty. Dead technologies, disconnected, discarded, or obsolete, become raw material for reanimation and transformation.

My films never begin on a digital timeline. Each piece starts in the analog realm, generating textures, feedback, and signal using Living and Injured devices in my studio. Analog feedback loops, CRT screens rescued from the street, and prosumer video gear from the 1980s and 1990s are layered with collected footage and shaped through hybrid analog and digital methods.

In Transmission Override, natural imagery such as bees, flowers, and seasonal rhythms intertwines with the persistent hum of signal and static, echoing a world shaped by both pollination and transmission. An analog synthesizer score builds a meditative sonic terrain that holds the tension between decay and regeneration.

The machines I use are not passive tools but collaborators. Each device carries its own history, its own scars and stutters, and in working with these technologies, I prioritize care, attention, and repair over convenience or disposability. Glitches and ghost signals are not errors. They are part of the language.

Interactive Video Installation

Materials: Three CRT monitors, microphone, audio interface, feedback loop

Originally exhibited at Area 405 gallery in Baltimore City as part of the Animation Adjacent exhibition, running in conjunction with the Sweaty Eyeballs Animation Festival 2024.

This dynamic, living installation comprises three stacked CRT monitors that listen and respond to the surrounding environment. Utilizing a microphone and an audio interface, the installation transforms ambient noise, spoken words, or song into a generative video animation that unfolds in real time. The visuals on the monitors shift and evolve, directly influenced by the sounds they receive, creating a continuous feedback loop between the audience and the work.

When activated, Active Listening 1 captures even the faintest sounds, responding to an empty room or human interaction with equal sensitivity. This intimate relationship with its environment allows the piece to hold a profound presence in any space it inhabits.

Electric Body

2023

Interactive Installation

Materials: Restored CRT monitors, active videoscope, auxiliary chord, found and repurposed materials

Electric Body is an interactive installation that transforms discarded technology into a vibrant exploration of the human relationship with electricity and the body’s connection to technology. Originally constructed using restored CRT monitors and materials salvaged from Baltimore City, the work critiques the pervasive culture of planned obsolescence and champions the repair and renewal of e-waste.

The installation features an active videoscope that remains dormant until activated by the viewer’s physical touch. A 20-foot auxiliary chord extends from the monitors, creating a circuit only when it comes into contact with the body or any conductive surface in the surrounding environment. This tactile interaction generates live, dynamic visuals on the screens, making the audience an integral part of the circuit and the artwork.

Electric Body is both a reflection on and a renewal of the technology left behind in our urban environments. By salvaging and repairing materials found on the streets of Baltimore, this piece reduces e-waste and breathes new life into discarded objects, demonstrating their potential for reinvention. The work underscores the urgent need to rethink how we manage and value technology in a society driven by fleeting trends and disposable consumer goods.

Continuing to grow, Electric Body now includes more than 10 additional restored televisions as of 2024, each contributing to a larger conversation about sustainability, repair, and our evolving relationship with technology.

"Electric Body" is a reflection and renewal of the old technology lying in and around Baltimore city that I have given new life too.  

Roll for Punishment

2023

Percussion Ensemble Performance for 4–6 Players

Roll for Punishment is a game-like percussion ensemble performance piece that delves into the dynamics of chance, societal norms, and cultural commentary. Designed for 4–6 players, the piece unfolds through a playful yet conceptual framework, exploring themes of masculinity, repetition, and the unpredictable nature of human behavior.

During the Spring of 2023 I met with the Director Tom Goldstein and his percussion Ensemble semi weekly to make this composition possible as well as coach all the players on the score, performance, and dynamics of the piece.  

The composition is divided into two phases. In phase one, performers adhere to specific composer instructions for their chosen percussion instruments, creating layered and evolving rudimentary rhythms. In phase two, any player who rolls a one must "Roll for Punishment," which involves performing mundane yet absurd tasks such as brushing teeth with an instrument or engaging in a mock debate about baseball rule changes. Players remain "in the game" when rolling blue dice, but rolling red signals a transition to punishment tasks, introducing a theatrical element to the performance.

The punishments and gestures are inspired by societal perceptions of masculinity and repetitive cultural trends, as highlighted in NPR discussions in Spring 2023. These tasks, alongside "masculine statements" embedded in the score, critique the monotony of cultural expectations while inviting humor and reflection. Influenced by the chance-based compositions of John Cage and the narrative tension of the anime Kakegurui – Compulsive Gambler, Roll for Punishment transforms risk and decision-making into a dynamic performance.

Under the direction of Tom Goldstein, Roll for Punishment was performed in collaboration with the UMBC Percussion Ensemble as the finale of the sold-out Spring Concert, Time and Punishment. The work’s conceptual depth and engaging framework challenge performers and audiences alike to reflect on the arbitrary systems of power, competition, and cultural narratives. With its blend of rhythmic complexity, theatrical tasks, and unpredictable outcomes, Roll for Punishment is as much a thought experiment as it is a performance.

2024

Improvisational Video and Music, Collaborative Project and Concert for 5 musicians and 1 video artist

This semester-long collaboration culminated in an hour-long improvisation concert, where musicians actively responded to the visuals displayed on CRT monitors as I improvised alongside them. Throughout the semester, we explored the dynamic connection between live audio and video, fostering a process of mutual listening, watching, and creative collaboration. This exchange emphasized the interplay between sound and image, showcasing the responsive and performative nature of our work together.

During the course of this collaboration, it was truly inspiring to see the musicians grow attached to the CRTs they were improvising with. Each of us, including myself, had our own Cathode Ray Tube Television—a total of seven CRTs, one for each member. I fed the video to these monitors, which the musicians helped care for throughout the semester. This act of caring for the monitors, the performance, and the visuals during our improvisations highlighted the empathetic nature of our collaboration. It also reflected the importance of tending to old technology—objects often considered obsolete, yet containing hazardous materials that are rarely recycled responsibly and are frequently sent overseas to underdeveloped nations.

By practicing care for these objects through performance, we created a dynamic and unique audiovisual experience that promoted care not only for the monitors themselves but also for the improvisations and visuals. The imagery reflected themes of nature, environmental disaster, consumeristic failures of the twentieth century, and the resilience of wildlife. These themes culminated in our hour-long concert, which encapsulated the responsive relationship between sound and image and the conceptual frameworks underlying our work.

Every Monday, we gathered for one-hour improvisation sessions, forming a weekly ritual that blurred the boundaries between my background as a musician and my identity as a visual artist. Each session was entirely improvised—none of us knew in advance what we or the others would bring. The musicians improvised musically in response to the visuals I presented, while I simultaneously responded visually, creating a fluid and evolving relationship between sound and image.

This collaborative effort, initiated by the musicians’ desire to experiment with video, was an incredible opportunity to merge our disciplines and explore new creative possibilities. Working closely with the director and the musicians—Patrick Crossland, Ida Dierker, Brandon Gouin, Jeremy Keaton, and Josh Webb—highlighted another facet of my practice: the collaborative, responsive nature of my work and its alignment with my environment and conceptual frameworks.