The work consistently places disruption in conjunction with consumerist and pop culture, simultaneously eliciting the surrealist Americanism of a Bruce Conner, the cut-and-paste gestures of Hannah Hoch and the sensuousness of Sargent, alive to the makeup of the social body.
The desire: to explode narrative and preconceived notions. I use strategies of asymptotic convergence, vertical montage, a-harmonic weave, digital archive, language mis-translation, sonata look-a-likes, sound and noise juxtapositions— jolly and foreboding. We live in a world cluttered with things, so it is important to go below and behind them, to re-contextualize the given and refresh it, to enlarge possibilities, and upset the powers that restrain us—whether exterior or interior.
The goal for the (near) future: to make a cinema-in-the-round where images surround us— fragmented, prismatic, fleeting—impossible to unify, potent, beautiful.
“We perceive that a set of concerns builds up, with artful indirectness: women’s power; the gestures of gender, manipulation of a spectator’s sensibility through the medium of film, large-scale political implications of small moments. “ Karen Schiff. Big Red & Shiny, Issue 42.