My digital video practice investigates non-narrative layering, appropriation, and video collage. The major aesthetic inspirations for these pieces are works by Robert Heinecken and Nam June Paik. These immersive video art pieces examine oppositional relationships between corporate power, human life, Earth, and empire. Much of the work contextualizes mass violence underlying our neoliberal economic system using appropriated and woven YouTube videos focused primarily upon the destruction of the sacred, specifically human life and the environment. Aesthetically, the work reveals contemporary American culture in the form of hallucinatory abstractions woven from found footage. The optical experience of viewing video weaving involves constantly switching between planes of focus. This experience of visual conflation physically mimics the mental difficulty of examining a culture while living within it.
Kids to a Warzone reveals the schizophrenic relationship America’s security state has adopted concerning violence and children. The work juxtaposes Collateral Murder, a WikiLeaks video of airstrikes directed against innocent Iraqis including two children, with state sponsored simulated school shootings and advertising for bulletproof children’s apparel. Kids to a Warzone presents a shift toward a new dystopian militarization of childhood.
Horizons takes on the Deepwater Horizon oil spill as its subject. It includes footage of the spill as well as video of horizons, jelly fish, and bioluminescent aquatic creatures. Human impact has altered the PH levels in our seas and oceans worldwide. This increased acidity kills off many of the most critical species, such as coral, while promoting the growth of large blooms of jellyfish. This video raises the question, what is on the horizon for our water systems?