While some of my earlier work was influenced by innovative experimental filmmakers like Pat O’Neil, Chantel Ackerman and Chris Marker, my more recent studies with the moving image have sought to elaborate on the relationships of cinematic, physical, and psychological space and perception of time. Thoughts on spatial and temporal orientation have led me to the exploration of circumstances that cause one to “evade” space and time—or more precisely evade the constructed rules of space and time. I find myself constantly questioning the physical and temporal “rules” of my experience. With these curiosities, it seems only natural that I would be drawn to a medium that offers a sense of control over the moving image.
I have found that using film and video within an installation format allows me to further shape an experience. It is important for my artwork to create active, kinetic environments, involving the audience both physically and psychologically. Film, video and sound mingle with sculptural, architectural, and two-dimensional elements. While the narratives and themes range from the mythical to the political, the work often draws attention to the power of illusion and the elusive nature of space and time. Within the work, discrepancies unfold between image and sound, subtle effects help shift the balance between harmony and discord, synchronicity and chaos. Large-scale multi-channel projections, richly layered soundtracks and surround-sound audio allow me to create immersive environments for viewers. It is these fabricated environments that spatially acknowledges the viewer as they are cast into the roles of voyeur, participant, or confidant.
