Heavy Focus weaves together ideas of tactility, visibility and the body, and the material conditions of image-making. In this single-channel video, disembodied hands carefully collage and layer physical photographic prints, while other images are manipulated within a digital workspace. Drawing from a wide variety of idiosyncratic sources including architectural theory, vintage beauty tutorials, phenomenology, archaeological studies of Venus figurines, stock images and the artist’s own photographic archives, Heavy Focus explores seeing as a sensory, tactile act that plays out both tenderly and forcefully upon the body.

I take control of my sublime experience from outside abstract control into my own hands. The outer control is religion, state, and government. for centuries external forces controlled what is forbidden and what was allowed, thus controlling my consciousness – what I think, enjoy, and what makes me feel awe or spiritually elevated. To develop into the state of post-human, I need to shed the old restrictive skin of current thinking. The object I am trying to control, the lost ship of my mind is in its own entity.

The audio used in this work comes from an archive of recordings that were conducted by a computer program. This program listened to talk radio broadcasts across the United States from 2019-2022 and recorded what happened before, during, and after moments of silence that occurred on these broadcasts. This software generated an archive of recordings that captured the voices and ideologies of broadcasters commentating on events that happened throughout the COVID-19 pandemic.

A scrolling maze on shifting ground.

Conceived as a performable webpage, Frustum Culling is a prose poem of text and sound, animation and HTML. It is a guided tour through a vessel populated by ghoulish characters, each surveilling and seeking: others, objects, assets. Reflecting upon architecture, labour, and gaming vernacular, the work extrapolates the present, suggesting a coming absurd predicament.

You never get a second chance to make a first impression, so make it a good one. Effective headshots leave lasting impressions.

A drastic haircut is an aesthetic attempt, a nearly non-committal practice, to be okay with big changes. This film is a documentation of processing the internal and external changes prompted by the COVID-19 pandemic.

“White Noise” is an abstraction of the social and political concerns currently reverberating throughout the United States. A video that travels through an anonymous American landscape is juxtaposed with the increasingly chaotic sounds of newscasts and punditry. The banal time and space of everyday life take on an ominous atmosphere as the radio gives voice to a stream of issues pulling at our social fabric, while the image of the landscape fragments and falls out of sync with itself, transforming what was once familiar into a threatening experience.

A young girl who is fighting with her problems.

Through intimate reflections, Lick Fire delves into the ecstasy and turmoil that spring forth from the limitless realm of imagination, while fearlessly contemplating the impending consequences of artificial intelligence in breathing life into these captivating and unreal realms.

This film is based on documentary material but is not, strictly speaking, a documentary film. Nor it is a work of fiction. The film rather appeared to us like a dream, not a nocturnal dream, but one which unfolded day by day while shooting. A dream shared between the photographer-director and the actress (or, better, the woman portrayed in the feature), which nevertheless seemed to follow its own, enigmatic necessity through which the daily shots joined almost magnetically, interweaving in a pattern of superimposed layers that unceasingly merge and dissolve one in another, in the constant flux, crystallization and reshaping of psychic interior.