Sookoon Ang
John Arndt
Elisabetta Benassi
Wolfgang Berkowski
Johanna Billing
Brian Block
Opie Boero-Imwinkelried
Daniel Bozhkov
Lasse Brandt
aka Bosse Sudenburg

Sarra Brill
Thomas M. Callori
Rob Carter
Anetta Mona Chisa
Suzy Cho
William Cobbing
Tyler Coburn
Patricia Cronin
Keren Cytter
Jen DeNike
Robert Ladislas Derr
Stanislao Di Giugno
Ra di Martino
Honoré d'O
Steven Eastwood
Chris Ernst
Billy Erhard
Mariana Ferratto
Oriana Fox
Rainer Ganahl
Jean-Baptiste Ganne
Mario Garcia Torres
Emil Goh
Dara Greenwald
Vincent Grenier
Jesper Just
Rob Johannesma
John Kelly
Jeroen Kooijmans
William Lamson
Penny Lane

Sandra Eula Lee
Jochen Lempert
Jason Livingston
Jennifer Locke
Giuliano Lombardo
Marie Losier
Mary Magsamen
& Stephen Hillerbrand

Giulia Mainenti
Kristine Marx
Tara Mateik
Ursula Mayer
Jacopo Miliani
Franklin Miller
Vincenzo Mistretta
Liana Miuccio
Joshua Mosley
Willett Moss
Shana Moulton
Lydia Moyer
Jeremy Newman
New Humans
Olaf Nicolai
Dan Oki
Joao Onofre
Jimmy Owenns
Arzu Ozkal Telhan
Jose Parral
Sarah Paul
Julie Perini
Rosalind Peters
Alessandro Piangiamore
Cesare Pietroiusti
Frederic Post
Gunter Puller
Marco Raparelli
Alia Raza
Asad Raza
Jack Riccobono
G. Alan Rhodes
Manuel Saiz
Alessandro Sarra
Corrado Sassi
Mathew Sawyer
Jennifer Schmidt
Guendalina Salini
Cigdem Slankard
Claudia Sohrens
Mirjam Somers
Nomi Talisman
Jennet Thomas
Jennie Thwing
Lucia Tkacova
Nathan Townes-Anderson
Thomas Tsang
Ken Ueno
Guido van der Werve
Marcella Vanzo
Nico Vascellari
Luca Vitone
Clemens von Wedemeyer
Patrick Ward
Julita Wojcik
Emiliano Zelada
Sarah Zwerling

2 x 22 = 8 (Times Square)
four-channel split screen, color, sound
2006, 12:48 min.

Using New York City’s Times Square as the location for my psychogeographical walk, I wanted the location to dictate an integral component of the walk. The walk consists of me crossing the street eight times at an intersection in the heart of the Times Square spectacle. I arrived at eight times by turning the name “Times Square” into the mathematical equation of 2 x 22 = 8 or “two times two squared equals eight.” This mathematical and linguistic pun determined the parameters of my walk during which I captured the ephemeral tourists that constructed the ambiance of time and this hyper-real environment assembled to promote consumerism.

Garden Crawl
four-channel split screen, color, sound
2006, 14 min.

On Saturday, June 24, 2006, I performed a psychogeographical crawl titled Garden Crawl through the Green Thumb public garden in the East Village for Allied Production’s Le Petit Versailles (New York, NY).This performance was similar to my previous performances in which I use the city as a fluid canvas documenting (wearing video cameras attached to my person) the landscape and ephemeral characters that construct the ambiance of place and time. However this time somewhere between a crawl and slither, I captured the minute environments and nuances of the garden. For approximately fourteen minutes, wearing four video cameras, I moved around the garden recording the subtleties, flora, and foot traffic. Lowering myself to the garden’s perspective, altering my usual state of movement, I captured an unedited glimpse of the subtly ever-changing minutes of life in the garden. While green space is a rare commodity in New York City, this perspective gives the garden a greater sense of scale. By negating the face-to-face encounters with garden visitors and capturing only their foot patterns, the video footage emphasizes the ephemerality of existence. 

four-channel split screen, color, sound
2006, 14:39 min.

For five days Monday through Friday beginning at 4:30 pm, I rolled out a spool of denim fabric that span roughly a block and a half and then rolled the fabric back up. Playing off of the concept of the red carpet, I used denim to connote quotidian labor rather than bourgeois excess. Interested in the idea of work and play in my art making, I wanted to physically engage in an exercise that blurred the two concepts. The video footage illustrates only the labor of the rolling, while the results of my labor are left to the imagination. Purposely, only the undulating form is captured to show the constant flux, insinuating that progress is never made. Blurring the political and poetic, I labor this traditionally plebeian material into a poetic line in the streetscape.

Concrete Intervention
two-channel split screen, color, sound
2003, 9:30 min.




It can be said that I put myself literally in the center of a barrage of questions about life and making art. My videos are derived through intersubjective exercises and psychogeographical walk performances. Performing for the video camera in site-specific or staged environments, my exercises provide polysemous interpretations as I draw on historical antecedents to manifest a collection of ideas through ontological acts.

During psychogeographical walk performances, I use the city as a fluid canvas documenting (wearing video cameras) the landscape and ephemeral characters that construct the ambiance of place and
time. My own predetermined parameters, gallery viewers, or descriptions in a book or poem map the performances. Capturing the views around my being, the video cameras record my journey,
while also creating both my absence and presence. At the center of these mediated devices, I am void to the second-generation viewer but present through the arrhythmia in the video.

I have performed and exhibited throughout the United States and abroad at such venues as the Irish Film Institute (Dublin, Ireland), Art Interactive (Boston, MA), and DiVA Festival (New York, NY). The
recipient of numerous grants and fellowships, I am currently an assistant professor of photography at The Ohio State University (Columbus, OH). I received an MFA from the Rhode Island School of