speckle
loop / video projected through a metal colander / 2024
An exploration of speckled and dotted images, including distorted fern fronds, sparkling light on water, tumbling kaleidoscope beads: all projected through the holes of a metal colander.
woman on a rocket
3 mins / 16mm / 2024
Woman on a Rocket is a poem about the feeling of leaving my early twenties. I explore scale, direction and color to create a meditation around themes of aging and play. Through a turbulent transition, Woman finally embraces change.
let's watch it together
1 min / video / 2024
I collaborate with rotoscope animation and audio recording technology in order to recreate the experience of my dream for the viewer. To archive and realize my dreams creatively, allowed me to learn about myself and share an exclusively internal experience with the outside world.
Growth Begins
5:26 / video / 2024
I collaborate with archival scientific education footage that I discovered on Youtube.com. The first video is titled, America’s first Sex Education film shown in public schools - First Edition (1947), and second is Human Growth (1962). I was struck by the fact that both films share the same script with different actors, and how pairing the two together could serve as a structure for helping a viewer reflect on how educational films are constructed.
look at yourself
4:10 / video / 2024
A video about my experience finding videos that I recorded when I was around the age of eight years old. The footage was forgotten until a random day when my childhood best friend sent me a clip of one over an Instagram message. Suddenly the world of my child self was happening right there in front of me like a pixelated flashback. I remember the incredible weight of seeing my younger body move and speak for the first time. Looking at the little girl version of myself was both exciting and unsettling. The person looking back at me in the video is not who I am now, but it’s also not exactly, not who I am now. The loss of childhood is difficult to process and raises questions like, when did I lose that loud, dorky side of myself? Or did I ever really lose anything?
16mm and I- 100 years of 16mm celebration
about 10 minute performance with my body and 16mm / 2023
A projection performance in which I embrace 16mm literally by letting the film run out the projector with our a take up reel, but wrapping it around myself in front of the beam. The one time performance was part of a trio of Artists Sierra Cosmidis-Grove, Dani Wasserman, Eileen Roscina, perform a series of 16mm projection performances at Denver, Colorado's Evan's School, October 7th 2023.
LOVE IS SO EMBARRASSING
9 mins / video / 2023
A video that reflects on the performative aspects of romantic relationships and how those expectations are informed by the moving image. The video is a portrait of me falling in love and processing my internalized harmful traditions of romantic love.
Window Circumstance
3:00 /16mm / 2022
Window Circumstance creates a parallel between windows, vision and the cinema screen: a framed, chanced-based light show. I allowed the camera to mirror the unknown by gathering images that came naturally out of the situation I found myself in. For example, the idea for the first shot of my bedroom window arrived only after I had blocked out my windows to load the Bolex. This letting-things-happen style of filmmaking is a metaphor for the chaotic experience of consciousness: one accident leading into another. This idea is represented further through the images of wind impacting the grass and windchimes.
I wish I could have seen her wear it
16mm loop / 2021
A 16mm dreamscape about reproduction, ghosts, and extinction using cyanotype printing and found footage projection.
I use the passing of jewelry down the matriarchy as a metaphor of the physical bodily connection between grandmother, mother and daughter. The unique egg that formed me was inside the ovary of my mother when she was inside the uterus of my grandmother. I love the idea of jewelry as a record of bodily existence. I have strangely textured memories of girlhood spent rummaging through my mother’s jewelry box with curiosity and mystery.
In this project, I place my grandmother's jewelry on hand-painted photo emulsion, to create a ghostly reproduction of the object. The print is then brought to life through the animation of the projector.
The title, “I wish I could have seen her wear it”, is a quote from my mom referring to the bracelet of my great grandmother. I shift her mourning of past death to my fears of climate change breaking the continuation of generational lineage.
My hope is that viewers of this work can reflect on their origin, photography’s role in documenting family history, and that someday this film can be projected by future generations.
I MISS SEEING YOU
Video / 6:31 / 2021
The video, I MISS SEEING YOU, documents feelings of frustration, loneliness, desire, and fear experienced a year into the COVID-19 pandemic. The ways that the human spirit has continually found methods of helping and loving one another during a time of physical separation has been a source of inspiration to me. My hope is that ‘I MISS SEEING YOU’ will be a record of what we overcame. I find purpose in using audio/visual technologies to archive this unique emotional human moment while it is still raw and happening.
I MISS SEEING YOU uses the art of interviewing, audio recording, cameras, 16mm direct & digital rotoscope animation, found footage, and musical instruments to examine the current inability to intimately gather without fear of killing someone.
The action, ‘to kiss’, was the energetic essence underlying my creative process. Kiss as a loving, gentle, yet powerful gesture of touch. Fingers press into the celluloid’s surface. Voices & words enter and leave the screen world with grace. Heart beats. Lips breathe into flute.
Much of my moving-image works investigate the medium of cinema’s relationship to the physical human experience of vision. This curiosity is evident in I MISS SEEING YOU’s transitions from Image to Lack of Image, as a way of representing the physical experience of Not Seeing something that was once there.
‘To reach’ was another central action that arose within the making of I MISS SEEING YOU. I find immense power in the image of a hand reaching out for help. Living is an occilation between the roles of Helper and Needer of Help.
Theia Unfurling
16mm / 3:00 / 2021
In the camera-roll (in-camera edit) film, Theia plays their magical camera machine, gathering light, and unfurling through time. Fatigue grows until Light’s power consumes them completely. Filmed between 6am and 8pm, February 6th, 2021, my body performs for and with the Bolex camera. Movements are energized from my pull of the motor's trigger. My choreography is inspired by the spiraled movements of the Bolex camera itself: the crank of the motor’s arm, the unfurl of the metal spring.
Being an only child, I grew up playing pretend, creating imaginary worlds by myself with nobody watching, the world was from my eyes only. A recurring characteristic of my moving image work is the experience of being alone with a camera in space. Musical instruments are another common symbol in my moving image work, a symbol of the body, breath, animation, the bringing of something to life: to play. I draw inspiration from Dziga Vertov, Marie Menken and Maya Deren.