Eyelydian

360° digital video, 3:15

Eyelydian is a 360° video that uses abstraction, animated geometric patterning, and photographic images to call to mind the colors, patterns, and visions seen as light filters through closed eyelids. The virtual reality headset closes our eyes to the outside world, while paradoxically bringing us immersive vision through a set of technological “eyelids”.

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Middle

Digital video, 5:25

Middle is an altered found footage/reenactment video that explores three meanings of the middle finger. The video is broken into three sections:  a montage-supercut of children’s YouTube videos about fingers, a series of censored, crowd-sourced reenactments of the 90s teen rebellion music video for Smashing Pumpkin’s “1979”, and a group of movie action sequences in which characters hang from ledges by their middle fingers.

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Fake Believe

Digital video, 3:38

Fake blood watering fake flowers. In this time when we call fake things real and real things fake, what are we growing? This video references a nature-documentary photographic style, shot in high-framerate slow motion, as fake blood rains onto national flowers.

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Perfect Pixels

https://vimeo.com/178352695

Four-channel digital video on four digital frames, gaffer’s tape

Perfect Pixels is a video sculpture series in which the Rule of Thirds intersection pixels of classic films are highlighted and magnified on four wall-mounted screens. Each installation of the series displays the perfect pixels from a film that won the Academy Award for Best Cinematography, showing the entire runtime of the film in a loop. Marked with the Rule of Thirds guidelines, the otherwise blank wall serves as the remainder of the film’s aspect ratio.

The Rule of Thirds is the compositional principle that divides an image into thirds vertically and horizontally. Cinematographers align subjects along those guides to create the most visually interesting composition. The points where these lines intersect are said to be the most visually powerful in the composition. Drawing this idea to its logical conclusion, the exact pixels at those points should be the most perfect pixels throughout the entire film.

The individual pixels are so small that you might not be able to see them blinking. But when they are magnified, they become colored flicker films, charged with the most important visual information in their original source film.

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Space Helmet

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Globe, papier-mâché, box, antennae, plastic tubes, spray paint, plastic film, video monitor, 2 minute digital video loop

Space Helmet is aesthetically inspired by a 1950s B-movie view of the possible future. This sculpture features a globe turned into a space helmet, used for a performative planetary landing, and finally displayed as a television. Decades ago, it seemed certain that, humanity would have succeeded in landing on many of the planets and moons in our solar system. Today, economics, politics, priorities, and public interest have conspired to make that potential human achievement seem more and more like an impossible fantasy. This video sculpture imagines what we might say for posterity if we were to land on another world.

http://vimeo.com/user1593188/space-helmet-documentation

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Space Helmet video loop

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Lost

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Inkjet on paper, exposed to water and sunlight, in plastic sheet protectors

The Lost series is a group of dozens and dozens of “lost” flyers that have been exposed to the elements. Walking around the city, I have often seen lost posters searching for sadly missing possessions or pets. From time to time, I see a flyer that someone has placed in a plastic sheet protector to shield it from the weather. Although their creators had the best of intentions, these protectors have only served to lock in moisture and condensation, dissipating the photograph. Instead of depicting whatever has gone missing, the image itself has become lost. But despite the sadness inherent in the object, there is a captivating beauty in the abstraction of the displaced ink. This series distills that experience to its essence: a plastic sleeve, the word “LOST”, and a dissolved inkjet image.

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installation at the Whitaker Gallery, Hood College, Maryland

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Console

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Console: Entertainment System
Broken Nintendo Entertainment System, polyurethane foam, latex paint

The Console series is a group of found-object sculptures created from the popular video game systems of my youth. Once the height of entertainment technology, these Nintendo and Sega systems have with time become obsolete, and have now entered into a nostalgia-driven status as retro collectors’ items. Filled from the inside with expanding foams and colorful latex paints, these electronic corpses display an almost fungal sense of growth-from-decay.

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Console: Super Entertainment System
Broken Super Nintendo Entertainment System, polyurethane foam, latex paint

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Console: Genesis
Broken Sega Genesis, polyurethane foam, latex paint

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Every Feature Film on my Hard Drive, 3 Pixels Tall and Sped Up 7000%

http://vimeo.com/81886549

Digital video
3:29
2013

Every Feature Film On My Hard Drive, 3 Pixels Tall and Sped Up 7000% is comprised of 240 Hollywood movies running simultaneously, squeezed into a single frame and a 3.5 minute runtime. This work highlights the mass amount of media that we have at our fingertips and creates an abstraction of the color and duration of cinema.

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Picture Frame

http://vimeo.com/60956588

Digital images loop on digital picture frame
2012

This sculpture utilizes the digital picture frame as subject matter and as an animated video format. Images of the frame repeat until a tunnel is formed, then the temporary wormhole recedes back to blackness.

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Fireplace

http://vimeo.com/60956589

High-definition video loop, monitor, installed in a decorative fireplace
2012

This high-definition video of a fake fire in a fake fireplace was created as a site-specific work for the exhibit “Warm” at the Lease Agreement gallery in Baltimore, MD.

Installation shot:

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Pasticcio Furioso Set Design

http://vimeo.com/60959661

In collaboration with Phil Davis and Sean Hannan
Live-projected video set design for opera
2012

A project-video set design, performed live for the opera Pasticcio Furioso. Directed by Phillip Collister and performed by Towson University’s Music Department, this opera featured a video set designed by Ryan Murray and Phil Davis, with additional video by Sean Hannan. Ryan Murray performed the projected video mix live.  Abstracted, fluid images, animated engraving illustrations, and stop-motion special effects were combined and mixed to create the physical and psychological settings for this opera.

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Panda Claws

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Live video projection accompanying live electronic dance music
The Brillobox, Pittsburgh, PA
2011 (in collaboration with Sean Hannan) and 2012

Live psychedelic video mashups and glitch-outs using classic holiday movies and television programs, combined with holiday slasher films, animated gifs, digital effects, and datamoshing.  The video set was mixed and projected live, VJ-style, to create more than 3 hours of ever-changing material synched to live electronic music sets at each event.

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A Broadcast Called Life

http://vimeo.com/17454074

Digital Video, 10:40
2010

This garbled broadcast is mistakenly interpreted as an anthropological study of a single species, suggesting a peculiar and complex anatomical structure and reproductive practice. The visual chaos of the corrupted digital data becomes sensual as the sexual tension between David Attenborough and Oprah Winfrey comes to a head.

This work was created for Suzie Silver and Encyclopedia Destructica’s Institute of Extraterrestrial Sexuality collection.

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Simple Gifts

http://vimeo.com/60956587

In collaboration with students and faculty from the Towson University Music Department and Electronic Media and Film Department
Digital Video, 3:27
2011

This video is a section of a larger collaborative video piece; each segment of the larger piece was made by a different video artist. The entire work was created as a projected-video accompaniment to a live performance of Aaron Copland’s “Appalachian Spring”. The project was a collaboration between students and faculty of the Towson University Electronic Media & Film and Music departments.

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Get Inked!

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In collaboration with Kelly Schmal
Performed for Artscape Midway 2010
Funded in part by the Baltimore Office for Promotion of the Arts
Participatory Installation
2010

Part of a circus midway-themed outdoor exhibition, viewers were invited to sneak into the giant squid’s layer and steal a button.  But if they were brave enough to do so, they were likely to get squirted by the squid in the process.

Alternate views:

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Bottomless Pit

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5″ x 48″ x 48″
Latex, acrylic, oil, india ink, and charcoal on canvas
2009

The portal comes off the wall and onto the floor, as the flatness of painting becomes a bottomless pit.

Details:

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Balsam of Life

http://vimeo.com/4618451

Performance for Video, 1:24
2009

An attempt is made to redeem the power of the lava lamp by bottling its magical fluids as the Balsam of Life. Things get messy.

This documents the performance that created the Balsam of Life sculptural artifact, which can be seen on the Sculpture page.

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Balsam of Life

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Lava lamp, bottle opener, Turlington’s Balsam of Life bottle, pedestal, and shelf
2009

An attempt is made to redeem the power of the lava lamp by bottling its magical fluids as the Balsam of Life. Things get messy.

Details:

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The Greys

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Graphite, ink, conté, oil stick, gouache on inkjet prints on paper
2009

The gray beards of great thinkers and philosophers, drawn from historical busts and prints, are superimposed on hyper-intelligent Grey aliens in gray drawing materials.

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Color Theory Blacklight Posters

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30″ x 22″ each
Flourescent acrylic and black flocking on paper, blacklight
2009

The aestheticized forms of various color theories and colorspaces replace the trippy, geometric op-art of blacklight posters. They still provide a way for pop culture artifacts to let us reach a higher level by meditating on color experience.

Details:

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Portal

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Computer keys, dowels
2009

A readymade portal, allowing magical transport through your personal computer keyboard to virtual worlds and online fantasies.

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Medicine Cabinet Portal and Potions and Galactic Portal Refrigerator Magnets, In and Out

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Project for Second Bedroom Project Space’s Medicine Cabinet
Installation, latex, acrylic, oil on mirror with painting supplies in glass bottles and magnets on refrigerator
2009

An installation for an apartment gallery project space: the medicine cabinet becomes a vehicle for transformation and travel with enchanted potions and a magic portal. Spiral galaxy portals on the refrigerator are held together by magnetic forces.

Alternate views:

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Portal

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Digital Video loop, 4:53
2009

Machinima and video art combine in this video projection portal. A spinning, shifting portal created from manipulated footage of a video-game fantasy world. When displayed, this piece is projected directly on a wall, or projected in a free-standing screen, with the image about 7 feet tall (the size of a door).

http://vimeo.com/4171052

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Portal

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7′ x 4′
Latex, acrylic, and oil on canvas
2009

One of the Portal series, this one a portal with a deep black center.

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Portal

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7′ x 4′
Latex, acrylic, and oil on canvas
2009

 

One of the Portal series, this one a portal with a deep black center.

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Portal

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Latex, acrylic, and oil on canvas
2009

One of the Portal series, this one a portal with its shape defined by its bounding edge.

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Portal

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Latex, acrylic, and oil on canvas
2009

One of the Portal series, this one a portal with its shape defined by its bounding edge.

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Portal

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7′ x 4′
Latex, acrylic, and oil on canvas
2008

A second magic portal, a passage to some other world. Perhaps it connects to the first portal, or perhaps it leads somewhere else.

Details:

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Portal

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7′ x 4′
Latex, acrylic, and oil on canvas
2008

A magic portal offering a connection to some other world. Entrance might be an opportunity to escape this world and bring back help. Or perhaps this opening is a vulnerability, allowing something dangerous to pass through to our side.

Details:

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Vanish

http://vimeo.com/4171121

Digital Video, 0:37
2008

A mentor/wizard character speaks his last words before succumbing, vanishing, and sending the viewer on their quest.

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Archaeoastronomical Alignments

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6′ x 8′ (diptych)
Latex, acrylic, and oil on two canvases
2008

A random spatter of paint or an accurate view of stars as they will appear on December 21, 2012, looking southeast from the Egyptian city of Aswan? A series of structures monitors the situation and architecturally mimics it. Ectoplasmic entities hover, each haunting its own solitary perch — though one has abandoned its post to make a friend.

Details:

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Core

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4′ x 6′
Latex, acrylic, and oil on canvas
2008

Core material leaks from a diagram, attracting amorphous vehicles and protean beings to visit, probe, and feed. A lonely structure offers the opportunity to depart and arrive, and houses at its end a device which can both transmit and receive. Fantasy temples or science-fiction apparatuses rise in the distance.

Details:

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L’atmosphère

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6′ x 8′ (diptych)
Latex, acrylic, and oil on two canvases
2007

The Liberty Cap crowns protean beings as a symbol of simultaneous freedom and other-ness (while being just as much a Smurf’s hat or European toadstool). A finite world inside a shell is set up with breakable boundaries to recall a historical print that deals with the scientist/seeker’s mystical quest for what might be beyond the beyond.

Details:

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The Arecibo Message II

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6′ x 4′
Latex, acrylic, oil, and graphite on canvas
2007

A binary-coded, pixel art message to the universe, broadcast in 1974 from the Arecibo Radio Telescope announced our existence and longed for a response. The loneliness of this missive is here surrounded by models of the cosmos and abstract painting passages that wish to become alien entities able to receive the call.

Details:

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IAODAF

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5′ x 3′
Latex, acrylic, and oil on canvas
2007

A cosmic creation myth that emanates from the infinity of the Loch Ness Monster swallowing its own tail. Words from channeled, alchemical languages inhabit the celestial tiers of enlightened, three-eyed Mario clouds. The drips of gestural painting become a double helix, while the materiality of pure abstraction is bottled as a magic potion.

Details:

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Hidden

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5′ x 3′
Latex, acrylic, and oil on canvas
2007

Images from sightings of cryptids, animals that may or may not exist, live in various levels of obscurity in this landscape. “Heaven”, written in Quenya-mode Tengwar, a language created for a people that never existed, is completely obscured beneath a tide of rainbow.

Details:

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Five Years

http://vimeo.com/4171222

Digital Video, 3:43
2007

The eschatology of the Mayans, Terrence McKenna, and David Bowie come together in the performance of “Five Years” on the date exactly five years before the predicted end of the world.

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The Arecibo Message

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3′ x 4′ (triptych)
Latex, acrylic, and oil on three canvases
2006

Medieval Europe’s Bigfoot, the Woodwose, sends the Arecibo Message into the cosmos to desperately announce his existence to and invite contact from other worlds. The human cannonball undertakes a dangeous mission of exploration, and various cosmic creatures interact before the visage of the Marlin of the Future.

Details:

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