Additional installation and performance work can been seen at automaticelease.orgPlease contact me with questions or requests for additional information.

All Over Everywhere, 2021

interdisciplinary media installation with live performance – live broadcast via Twitch from MITU580 in Brooklyn, May 20 and 21, 2021

Shifting weather patterns, eroding environments, mutating undersea habitats and organic decay flicker in and out in All Over Everywhere, an interdisciplinary memento mori for our compromised planet – a requiem for what has already been lost as well as a benediction for what remains. Conjuring a live cine-performance through the interplay of otherworldly video, reactive sound, intoned words, movement, technology and spectral glitches, All Over Everywhere is a hymn to the natural world and a response to the anxieties and losses of this past year.

TOOLS: Isadora, Adobe Premiere, openFrameworks, Physical Computing, Projection Mapping

Why Why Always, 2017

Live cine-performance, Abrons Arts Center

Why Why Always is an interdisciplinary performance, which embraces a dynamic interplay between theater, dance, installation art, and technology by integrating live performers, multi-screen video, live-feed cameras, fabricated environments and a vibrant tapestry of sound.

TOOLS: Isadora, Adobe Premiere, openFrameworks, Physical Computing, Projection Mapping

Atmospheres & Accidental Ghosts, 2012-2019

Two-channel, self-generating video installation, New York Electronic Arts Festival

Atmospheres & Accidental Ghosts is an episodic, multi-channel video and sound installation, which randomly reconfigures and activates a perpetually shifting selection of media drawn from the artists' work and obsessions.

TOOLS: Isadora, Final Cut Pro, Projection Mapping

Keep Your Electric Eye On Me, 2012-2019

multimedia live performance, 70 minutes
Part live performance, video installation, and interactive media lab, Keep Your Electric Eye On Me is an interwoven exploration of transformation, dual realities, hysteria, and the desire for the unattainable. Throughout this disturbing and atmospheric work, a multifaceted narrative reverberates through choreographed movement, spoken text, multi-screen projections, sensors and live-feed cameras. In this high-tech/lo-tech world, complex sonic vistas and spectral mirages meld, collide and shimmer.

TOOLS: Isadora, Final Cut Pro, Projection Mapping

the horror the horror (i have plenty of energy to drive over there), 2011, 2012-2019

interactive media installation with dance/performance, 45 minutes
the horror the horror (I have plenty of energy to drive over there) is a largely improvised live video, sound and performance spectacle, which engages notions of loss, memory, eroticism and rage. the horror the horror conjures a slowed down realm of breathing, watching, and dreaming, a world of literal and internal reflection, using multiple large scale video projections, surround sound audio, escalating feedback, live cameras and a dancer to spin a gothic meditation on American pop culture and the personal obsessions of madmen.

TOOLS: Isadora, Final Cut Pro, Projection Mapping