I am fascinated by video's content, but also by its material properties– color in motion, dots that form lines, hexadecimal pixels.  A piece of video footage is a document, a record of history, a memory, but it is also a series of electric impulses and instructions. By applying simple mathematical formula to these instructions, unfolding across time, the video eagerly focuses to pure color, luminance, and shape. 

In these pieces, I’m exploring the formal properties of video: how foreground and background are defined on a two-dimensional plane, or how the relationship of shapes can be altered by color. Samples are a synecdoche for memory; video depicts and foregrounds the materiality of the depiction. Repeating the steps which once constructed an image– the simple pixel-by-pixel commands that contain memory– will transform that image. 

Alongside the sampled material are elements generated by creating time-based visual algorithms, creating and controlling visual elements with no preexisting source material. I create objects and lights in 3-D space, and connect their movement to a series of clocks that go in and out of phase, creating a rhythm in counterpoint to the emotional rhythms of the sampled material.

To make a piece, I apply various clock-based algorithms to the material, while interacting through a physical controller’s sliders and knobs at the moment of recording. Though the pieces are built from complex systems, often with visual results that are unpredictable and exciting, each finished piece is a document of a human hand interacting with a generated and generative system.