︎ sour solvents

Sour Solvents, originally a site-specific installation at the former location of the Portland Sugar House, melds glimpses of granular sugar crystals with hourglass sand. Through this close juxtaposition, the video produces a visual and sonic alchemy that gestures to the tendency of history to absorb and dissolve difficult truths. Spliced with terse subtitles excerpted from the archival film, “How we get sugar,” the video confronts the long pattern of distancing the luxury commodity from the horrific conditions endured by the enslaved laborers who harvested it.

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︎ envelope

Envelope is a text score for creating a score. Envelope operates between the ethos of “ready-mades,” instructional scores, and mail-art to comment on the technical terminology of the “envelope” in sound. Using a found envelope, the score instructs the performer to create a score for deciding on fluctuations of frequency and volume, using the physical envelope as a guide for how to contain sound. The score is iterative, instructing performer/composer to mail their score to someone who will continue repeating the process with their own envelope.

Collaboration with Michel Droge, Carolina Gonzalez Valencia, Tristan Koepke

Beyond Midnight is an immersive multimedia installation that envelops visitors in an otherworldly space of wonder, vulnerability, and ecological urgency. Through lush projections, layered sonic textures, and text, the installation conjures the ocean’s depths—from the Midnight Zone to the Abyssal Plain—foregrounding the vibrant life that thrives in these remote and rarely witnessed ecosystems.

Counter Archiving the Avant-Garde (2023)

Counter-Archiving the Avant-Garde is a proto-typical web platform that operates against the idea of an archive being a guarded, static authority on the past and instead imagines it as dynamic, critical, and communal. The web platform allows for text edits, markup, and marginalia to expand primary source material in The Kitchen's archive. The web platform is organized around an eight-step instructional score, which invites visitors into counter-archival considerations and actions.

In development work, supported by LEF Foundation Moving Image Fund 

︎ picnic collective

Process and community oriented art collective

A Long Breath is an acoustic sound installation with several wind harps installed on lampposts in Portland’s Congress Square Park. Through sound, the invisible and ephemeral elements of the wind and environment become palpable. A Long Breath was created in the depths of the COVID-19 lockdown, and allowed for a site of safe, communal listening.

SURFACE/BELLY is a web-based multimedia hyperlink poem. Reflexively composed and graphical displayed text brings the reader between the surface and depths of the narrative. The piece poetically explores interiors and exteriors both through form and the material, the cursor behaving as touch might; like the way we return to a scar, tracing the familiar path of a wound to understand its contours, histories, and depths.

The digital is often thought to be synonymous with improvement and permanence. However, encoding and decoding digital information modifies its object, causing data loss. Dwelling in imperfect transmission and nonlinearity, Lossy Recollections embraces digital regression, using obtuse digital compression techniques to generate colorful artifacts. The source materials are excerpts of degraded 16mm film - for instance, film that has rotted, or has been bleached away.

Projector slides, the actual ephemera of a personal loss, are used to explore the ephemerality of images in memory in the attempt of recollection. These slides become a vehicle for making contact with the past; a bridge, however precarious and blocked, for surveying a meandering and dissolving memory.

Formally, RECORD is an audiovisual collage built from manual manipulations of a record player. The resultant sound drives decisions in a text-generating software, culling from words of testimony and frustration, of all that remains or is kept “off record.” If a record spins in its engineered orbit, what meanings are generated in its disruption? An, authoritative, masculine voice is the frame but it stammers, is cut off, and split open. There is much to be read in the noise.

Before “talkies,” the majority of film editors were women. Film editing was seen as clerical & crafty—akin to sewing and textiles manufacturing. Referred to as “cutters,” literal hands for hire to manufacture moving image, these editors crafted together narratives creating illusions of seamless continuity. Despite their involvement in early film production, these workers were left out of mainstream historical narratives & rarely credited—cut from the past.  In this piece, spinning wheels and film reels are conflated; thread is spun, a screen is woven, the material and surface through which the moving image is made possible, with the work of the invisible laborer embedded.

ARTIFACT is a handwoven sculpture/tapestry that weaves textiles and electronics materials into a single form. At a distance, it looks like a conventional tapestry, but as one moves closer, the electronic components become more apparent. By bringing together these seemingly disparate materials, the work illuminates the shared technical and labor histories between these materials and technical processes.

︎ ravel

RAVEL is an expanded media performance that interrogates the process of weaving and challenges the conception of the textile as a static finished product. In doing so, the “textile” is used as a metaphor for the assembly and unraveling of history. The performance employs poetic live narration, archival media, and live projections and amplifications of weaving, turning a loom into a performance instrument that offers a sensory approach to the construction and deconstruction of the textile.