BIO From an early age, I was immersed in motion picture production, fascinated by the people, the art, the process, and the technology. Determined to pursue a career in filmmaking, I completed an A.B. in Art History at the University of Georgia. After more than a decade of professional work, I obtained an M.F.A. with a concentration in film and digital media. Since then, I have continued to explore and experiment with emerging media technologies, teach, collaborate, and produce new work that has screened at national and international festivals STATEMENT My work is a bricolage of analog and digital techniques, technologies, and textures—blending the media's materiality, temporality, interactivity, and ephemerality to reimagine the boundaries of form—merging lens, light, emulsion, sound, interactivity, and code; blurring the boundaries of narrative structure; investigating permutations of beginning, middle, and end; exploring the browser as both canvas and screen; examining the dynamics of power between subject, audience, and artist; and analyzing the film frame as a structure of confinement and control. My process is an over-planned improvisation. Live-action and cameraless images are imbued with temporality, combined with live-action footage, and layered through an exaggerated application of effects, compression artifacts, and textural manipulations to visualize the materiality of both digital and analog media. Editing functions as an orchestration of thematic and conceptual elements—sometimes surfacing unity, and at other times allowing disjunction to guide the final form. This process involves navigating footage I shoot, create, source, or assemble, employing techniques such as jump cuts, temporal remapping, frame recomposition, interpolation, and the choreography of motion and gesture. Then, I turn the temporal and interactive aspects of the work over to the viewer, introducing unpredictability, randomization, and non-linearity. Triggering visual and auditory events compel viewers to engage actively (or watch passively if the work is performed), revealing the user viewer's own perspectives and emotional resonances. By inviting participation, my work seeks to bridge the thematic and formal concerns that initiated its creation with the individual experiences and interpretations of its audience. November 30, 2024 <<--