• Games People Play [Database 2], 2014-16, TRT: 03:50:00

    Conway’s GAME OF LIFE and my text, RELEVANT/IRRELEVANT, snap back and forth as if in a conversation. The specific language used in LIFE operates as a closed system, expansive, gridded, binary. My performance, RELEVANT/IRRELEVANT, reveals my frustration with binary systems and ultimately I find it impossible to assign relevance or irrelevance to the ideas presented.

  • Manifest Destiny [Database 2], 2014, TRT: 3:50:00

    Appropriated video, images & sound comprise the content of this video database. Movement is a metaphor for search-as-movement, data-as-movement, innovation-as-movement, downloading-as-movement, etc. Once compiled, my primary interest was to rely on juxtaposition and recontextualization to create meaning or, rather, the opportunity for one to make meaning.

  • Met Twit, 2015, TRT 2:18:18

    Glitch is the failure of a system to complete its functions or to perform them properly. However, glitch also presents an opportunity to exploit the failure and disrupt the system. Here, it is used as a mechanism to fracture and reveal the institution. The glitch breaks down the facade and, ultimately, relocates the institution in a critical historical, cultural and economic landscape.

  • Hidden In Plain Sight, 2015, TRT 5:58:00

    This is video documentation of an installation I presented in the summer 2015 at Pratt Institute in Brooklyn NY. Considering the idea of 'hidden in plain sight' as a queer experience, I projected crowd scenes onto a labyrinthine structure that was wrapped in translucent plastic. As participants moved in and out of the structure they were bombarded by crowds that were oblivious to their existence.

  • Metafiction, 2012-14, TRT 8:21:00

    This video short collages four disparate stories creating a meta narrative.

  • Fours, Nothingness, 2015, HTML files.

    FOURS are comprised of four separate texts. When the reader moves the cursor across the text it shudders and rearranges. It is difficult to find the same text twice. In NOTHINGNESS the text shifts every time the poem scrolls, rarely presenting the same text twice.