A Woman Escapes (2022)

A woman living alone in Paris begins video correspondences with two male filmmakers, each located in a different country.

2008 (2019)

A stereoscopic aubade pondering the distance of the recent past, illusions of unity, and the comforts of companionship.


As a major storm strikes Texas in September 1900, a new and mysterious televisual device is built and tested.

Filmed with two GoPros and a Fujifilm FinePix REAL 3D W3.

Something Horizontal (2015)

Flashes of Victorian domestic surfaces and geometric shadows transform the physical world into a somber, impressionistic abstraction, while elsewhere a spectre emerging from the depths of German Expressionism reminds us that what goes up always comes down.

Red Capriccio (2014)

An anaglyphic found footage film about machines and landscape that interlaces motion with stasis, crescendos with glissandos, and reds with blues. Its three movements depict a parked Chevy Caprice police vehicle, Montréal’s Turcot Interchange, and an empty rave room.

Baby Blue (2013)

Clips of trains, space shuttles, beaches, and cyclopes butt against one another to present a melancholic impression of mutating technologies, gestures, and organisms caught between one state of being and another.

C-LR: Coorow-Latham Road For Those Who Don’t Have The Time (2013)

Racing up and down the length of Coorow-Latham Road with Google Street View Hyperlapse.

Many a Swan (2012)

A film about folding — folded paper, folded land, folded timelines, folded video planes — that daydreams about the Grand Canyon (seen here in various ads, music videos, and anonymous found footage), Hollywood’s “Golden Age of 3D” (namely, Dial M for Murder), and the art of origami.

Depart (2012)

A mini-essay on motion, image tracking, and mapping in an explicitly digital form. It moves through various modes of software and internet aesthetics to frame images of sublime landscapes and flying vehicles (airplanes, space shuttles, UFOs). Set to a score of air traffic control radios, transportation ambience, and ominous drones, the accumulating layers of found, manufactured, and self-shot footage – plus a swarm of digitally animated fireflies – ease into an ambivalent co-existence.

Coorow-Latham Road (2011)

A trek down the entire length of Coorow-Latham Road – a small, barely inhabited path in Western Australia, about 250km north of Perth. The camera faces forward at the beginning, then slowly pans to the left over the course of the journey until it finally settles on a rear-view gaze of the road travelled. Images acquired from Google’s Street View application.

A Cold Compress (2010)

A study on time, speed, light, and the compression of those three elements. A 16mm film projector (offscreen) pans its light across a studio, passing over a bouquet of yellow daisies. The 24fps flicker clashes with the 30fps recording by the video camera, creating a phasing pulsation in the light. The video repeats again and again, doubling in speed with each successive play until the length is only one frame.

No Signal (2009)

I turn on a Digital Light Processing (DLP) projector without wiring it to any input channels, thus prompting the system’s ‘no signal’ message default. I wave my hand through the projection of the message, first to mimic a shutter, then to greater exaggerate the distortion of the white text into a rainbow blur. My hand gets increasingly vigorous over the course of 4 minutes before I get too exhausted to continue.

Nothing (2009)

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