An overexposed spiraling descent of false-awakenings into the recurrent nightmare of alienation and the subsequent clockwork manufacture of an insatiable desire for unity df/dx is an abject refutation of closure of any form.
My work examines the relationship between beauty and terror through exposing original forms to distorted processes and regenerative transformations into new forms. The underlying architecture of my work – be it two-dimensional film & video footage, constructed three-dimensional computer models or sampled audio – is intentionally concealed as a recurring comment on the subversive and manipulative nature of core archetypal structures of the psyche and their impact simultaneously as catalyzing forces and mechanisms of control.
My background in cognitive psychology and software engineering led tangentially into a concentrated study of the aesthetics of filmmaking and I find that my artistic work is continually renewed by the volatile space where these three worlds converge (psychology / technology / art). Through my technical development of experimental aesthetic tools, I attempt to coerce image and sound into disfigured sculptural forms used in both linear cinematic works as well as non-linear, immersive installations.
I am primarily concerned with addressing the role of fear and desire in the manufacture of identity and the internalized alienation that is subsequently constructed as a root source of conflict between and within nations, individuals, and minds. The strategic projection of cultural myths and stereotypes onto human existence serves to constrict the otherwise unique experience of any given situation, either present or retrieved from memory, into predefined templates and generalized narrative structures. It is exactly this projection of form onto that which is otherwise formless that my work continually attempts to bring, if only for a moment, into sharp focus.