Friday, February 13, 2009


Interference is a 3-channel video installation that follows Iceland’s perimeter road from the perspective of a car. As it moves through various remote and quintessentially natural Icelandic landscapes its tempo is interrupted by disturbances of our modern day highway symbols- road signs and barriers. Interference attempts to remind us of how most of us experience our landscape- through the window of a car. It explores how the accelerated speed at which we travel creates a shift in our perspective - as our focus becomes on the abstraction of destination rather than the points in between.

Survey Series

Documentation of ephemeral site specific sculptures.

Tuesday, December 2, 2008

Parking Lot Series

This series of photographs are an amalgamation of images manipulated in Photoshop to simulate a landscape that could be perceived as real, but isn’t. Much of the imagery references ubiquitous symbols of our modern landscape, such as strip malls and parking lots and references not only the transformation of our landscape from rural to suburban, but also over time, its transformation back to nature.

Wednesday, October 15, 2008


2008-07-01:00:01:01 examines the surveillance of time with the use of time-lapse footage from an observatory that studies weather patterns found on the Internet. The piece surveys a month of cyclical transformations from sunup to sundown, simultaneously viewing 4 days at a time. The work focuses on duration and speed and our interpretation of real time. The time-lapse compresses our standard of time into quick intervals allowing us to experience a day in a matter of seconds

From Invisible Omniscience: Seeing and the Seen curated by Rebecca Weber at Maryland Art Place September 16 - October 25, 2008, (footage courtesy of: Canada-France-Hawaii Telescope).


The structure of 'Latitude' rests on the horizon, following its transformation through divergent landscapes from the infinite horizon of the rural into its limited obstructed view in the city. 'Latitude' moves through the landscape in a linear fashion, as if observing through the window of an automobile, referencing not only how we move through our landscape, but also how our focus becomes on the abstraction of destination rather than the points in between. The piece deals with the speed at which modern mechanized travel affords us; its implications on our perception of space and time. It explores the disruption of our access to the infinite horizon, which confines our depth of field and perhaps causes broad ramifications with our direct experience of the geography.