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VIDEO ART
My work approaches the concept of presence as flexible and ever-changing—exploring time, memory, movement, and place as unreliable indicators of experience. In video-based works incorporating writing, photography, and performance, I seek to restructure, combine, repeat, and otherwise alter seemingly reliable imagery to create a sense of uncertainty, inviting the viewer to pause and deliberate the existence of an absolute reality.
The Way It Was
Video Projection, 17:49, 2021
Phoenix Art Museum, March - September 2021
The Way It Was is a rumination on the fallacy and possibility of memory. The repeated sequences explore the unreliable process of creating and recalling memories, as well as the significance of remembering at all.
https://phxart.org/exhibition/2019-artists-grants/
Phoenix Art Museum, March - September 2021
The Way It Was is a rumination on the fallacy and possibility of memory. The repeated sequences explore the unreliable process of creating and recalling memories, as well as the significance of remembering at all.
https://phxart.org/exhibition/2019-artists-grants/
It is always 12 o'clock.
Video, 6:22, Black & White, 2018
Video Finalist, Premio Combat Prize, 2018, Livorno, Italy
It is always 12 o’clock explores the interrelationship of time, place, and presence through a particular, recurrent moment of a daily commute. In a space that seems juxtaposed with the usual structure of daily life, time appears to have been paused – making it easy to question one’s presence within it.
Video Finalist, Premio Combat Prize, 2018, Livorno, Italy
It is always 12 o’clock explores the interrelationship of time, place, and presence through a particular, recurrent moment of a daily commute. In a space that seems juxtaposed with the usual structure of daily life, time appears to have been paused – making it easy to question one’s presence within it.
Family Picture Night
Video, 10:20, 2017
Celeste Prize 2017, OXO Bargehouse Tower, London, England
In found footage of a family tradition, moments that once seemed everlasting and reliable have been preserved, yet altered, by the unavoidable passage of time. A family, a home, and a past reality are revisited in the images and sounds left behind, deconstructed and re-contextualized to fit the present and confront a ubiquitous dilemma – how and what to remember.
Celeste Prize 2017, OXO Bargehouse Tower, London, England
In found footage of a family tradition, moments that once seemed everlasting and reliable have been preserved, yet altered, by the unavoidable passage of time. A family, a home, and a past reality are revisited in the images and sounds left behind, deconstructed and re-contextualized to fit the present and confront a ubiquitous dilemma – how and what to remember.
How long does a moment last?
Video, 7:11, 2020 (previously Extensions)
Body Archives 2, Museum of Natural History, Florence, Italy
In a photograph, a moment remains – frozen, yet ongoing, in a reality supposedly lost to the passage of time. A view of time tells us, however, that contrary to our intuitive understanding, moments in the past do not disappear; they are still in existence, just unreachable. They simply reside at different points in time and space. How long does a moment last? explores the potential of this exchange, using found photographs from Italian street markets as markers of other realities explored from within. The process searches for an intimate knowledge of these images, digitally joining and subtly extending each moment to explore a shared existence.
Body Archives 2, Museum of Natural History, Florence, Italy
In a photograph, a moment remains – frozen, yet ongoing, in a reality supposedly lost to the passage of time. A view of time tells us, however, that contrary to our intuitive understanding, moments in the past do not disappear; they are still in existence, just unreachable. They simply reside at different points in time and space. How long does a moment last? explores the potential of this exchange, using found photographs from Italian street markets as markers of other realities explored from within. The process searches for an intimate knowledge of these images, digitally joining and subtly extending each moment to explore a shared existence.
Shoes
Video, 3:03, Black & White, 2016
Nearly There, Solo Exhibition, Jules Maidoff Gallery, Florence, Italy
This video performance recreates what once stood as an effortless display of the body’s control, strength, and grace in its surroundings. Now unnatural and burdensome, the movement has become something in which nothing quite fits or works as it previously did. Though this perfect union is and always has been unreachable, patterns and parallels emerge from the futile attempts at revival.
Nearly There, Solo Exhibition, Jules Maidoff Gallery, Florence, Italy
This video performance recreates what once stood as an effortless display of the body’s control, strength, and grace in its surroundings. Now unnatural and burdensome, the movement has become something in which nothing quite fits or works as it previously did. Though this perfect union is and always has been unreachable, patterns and parallels emerge from the futile attempts at revival.
Feet
Video, 8:18, Black & White
Premio Celeste 2014, Video Finalist, Assab One, Milan, Italy
BINNAR Video Festival 2018, Portugal
This work approaches control, discipline and placement of the body. By splitting a series of movements in half, the figure becomes two distinct parts; their connection is questioned, but reliance amplified. Despite the attempt to separate, one part acts and the other must follow. The whole remains inescapably linked.
Premio Celeste 2014, Video Finalist, Assab One, Milan, Italy
BINNAR Video Festival 2018, Portugal
This work approaches control, discipline and placement of the body. By splitting a series of movements in half, the figure becomes two distinct parts; their connection is questioned, but reliance amplified. Despite the attempt to separate, one part acts and the other must follow. The whole remains inescapably linked.
Promise of Continuity
Video & medium format film photography, 3:13, Black & White, 2022
This work uses a reverse-engineered, film-like sequence to explore the existence and perception of time’s progression. The sequence creates this illusion of movement and change, exploiting our tendency to generate narrative through the notion of past and future.
This work uses a reverse-engineered, film-like sequence to explore the existence and perception of time’s progression. The sequence creates this illusion of movement and change, exploiting our tendency to generate narrative through the notion of past and future.
Weight
Video, 2:01, 2016
Nearly There, Solo Exhibition, Jules Maidoff Gallery, Florence, Italy
2018 - IV FESTIVAL VIDEO, nodoCCs, Caracas, Venezuela
2019 - Art | Banchel, Pigmento Studio, Madrid, Spain
2019 - 5 Minute Film Fest, Museum of Contemporary Art Tucson, Tucson, AZ, May 24
"Weight" uses movement to create an illusion of influence, control, and purpose in relation to a structure that has stood the test of time. A fleeting presence imposes a temporary force, but leaves no permanent mark once the structure returns to its original state – ultimately indifferent to what has occurred.
Nearly There, Solo Exhibition, Jules Maidoff Gallery, Florence, Italy
2018 - IV FESTIVAL VIDEO, nodoCCs, Caracas, Venezuela
2019 - Art | Banchel, Pigmento Studio, Madrid, Spain
2019 - 5 Minute Film Fest, Museum of Contemporary Art Tucson, Tucson, AZ, May 24
"Weight" uses movement to create an illusion of influence, control, and purpose in relation to a structure that has stood the test of time. A fleeting presence imposes a temporary force, but leaves no permanent mark once the structure returns to its original state – ultimately indifferent to what has occurred.
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