2016, multichannel video installation, 60x15x20’
Fallen Water – Niagara Escarpment brings our attention to the worsening global freshwater crisis through an exploration of local waterfalls and waterways flowing towards Lake Ontario. Separate videos on each of the thirty-two video screens that form this towering structure display a small video vignette from individual waterfalls along the geologic formation known as the Niagara Escarpment. Videos from Eugenia, Webster, Decew, Niagara Falls, and many others, coalesce into a video and sound installation in the central corridor of Brookfield Place in downtown Toronto. The project ultimately reflects upon the disparate and widespread origin of the province of Ontario's water which makes up one-fifth of the world's remaining freshwater.
2016, multichannel video installation, 60x15x20’
2011, multichannel video installation, entire building size
Remote Nation is a public art installation in which the inhabitants of an entire high-rise Manhattan apartment building appear to watch the same television station simultaneously. Viewers outside of the building are presented with an orchestrated display of the ambient televised light which appears to be organic, pulsing, breathing and changing color reminiscent of aurora borealis. From the outside looking in, the viewer becomes a voyeur to these individual electronic campfires, as a witness of the collective solitude of a remote, tv-watching nation.
2011, multichannel video installation, entire building size
2016, multimedia installation, 40x6x20’ Greenhouse
mog House is a site specific installation in response to the historical use of this greenhouse as a place to study the effects on plant growth of lead and smog from the adjacent Pasadena Freeway. Video projections of blue skies and cumulus clouds struggle to be seen though a thick layer of artificial fog inside the disused structure, much like the pure blue sky struggles against the smoggy haze on any given day in Los Angeles.
2013, video installation, 100x60x25’
Skyward is a large-scale video installation portraying Los Angeles’ manufactured landscape and its complex relationship to the natural world. Using the quintessential Los Angeles experience of driving as allegory, the video takes the point of view of a passenger gazing upward through an open-top convertible, or sunroof while riding throughout the city. This point of view manifests physically in the gallery by presenting this nearly ten-minute sequence on an oversized, suspended screen, compelling viewers to stare upwards toward the skylight-like tableau. What begins as realism subtly veers into the realm of fantastical daydream, transcending the routine activity of commuting by car, and rising above the gridlock at street level to a pristine blue sky saturated with limitless possibility.
2014, real-time video installation, 30x30x4’
In the Valley of the Sun forges an alignment between the Sonoma Valley, the quartz crystal mines in the foothills of the Sierras, and the shoreline of Bodega Head. Featuring twelve large televisions hanging from the ceiling in the shape of an inverted valley, the work presents an arched view of the open sky from mountains to ocean.
2014, real-time video installation, 30x30x4’
2018, Multimedia Installation (video, twitter-feed, artificial fog), dimensions vary
A time-based multimedia installation, Smoke & Mirrors physically manifests a frequent, and recurring, political and environmental dialogue taking place on Twitter. Each time a tweet containing #smokeandmirrors’ or #climateaction posts online, billowing clouds of fog immediately stream through the gallery’s darkened and mirrored environment, obscuring one’s ability to see across the room. Appearing as white projected letters, the text of these tweets oats nebulously through the air onto the mist while also reflecting onto the surrounding mirrors. Lingering for a moment until dissipating into obscurity, this action repeats dozens of times an hour on average, mimicking the short-lived relevance of any singular tweet among the 350 million that are posted every day.
2016, two-channel video installation, dimensions vary
A Thousand Miles An Hour refers to the speed at which the Earth rotates on its axis. By mounting the camera to an astronomical tracking system, the videos question how our normal visual experience of our most influential celestial bodies – the sun and the moon – may differ from our scientific knowledge of their physical properties. The two synchronized 24 minute channels present familiar views of the skies, yet the sun and the moon remain as constant points near the center of the frame. As the light subtly shifts from dawn to dusk, the clouds, the horizon, and even the earth itself appear in motion relative to these distant objects in the sky.
2012, forty channel video installation, 16x16,16’
The Bonfire Project reclaims dozens of cathode ray tube television sets and carefully arranges them to mimic the shape of a towering bonfire as fiery flames flicker across their screens. The individual television sets operate like pieces of a video jigsaw puzzle, collectively re-animating a small campfire. Electronic smoke and embers slowly rise towards the sky, transcending the awkward physicality of obsolete technology, becoming ethereal, like fire itself. Harnessing the mesmerizing ability inherent in television to capture our attention, this work can be seen symbolic gesture reminiscent of a ceremonial and spiritual celebration, or perhaps as an act of destruction.
2016, multichannel video installation, dimensions vary
While investigating the source of a leak at the suspended Gold King Mine near Silverton, Colorado, EPA workers accidentally released approximately three million gallons of contaminated water from the mine into a river, polluting water sources in Colorado, New Mexico, and Utah. Golden Prospects is an immersive installation – shot at the mine, nearby rivers and the surrounding landscapes – that points to the difficulties of distinguishing between what is natural and what is caused by human interference, asking us to question whether, and how, to trust the elements that nurture and sustain us.
2014, Eight 39” flatscreen TVs displaying live video feeds from eight, roof-mounted, closed-circuit cameras, dimensions vary
The Long Division, a multi-channel video installation, reconsiders the New York skyline by producing a 180 degree live view of the sky above 55 5th Avenue. Eight CCTV cameras mounted on the roof look outward to trace a line between the Freedom Tower and Empire State Building. Eight monitors in the lobby receive a distinct channel of the larger interconnected sweeping view. Simultaneously looking both north and south, The Long Division reorients the viewer within Manhattan and creates a new, yet impossible, view of this well-known path.
2019, HD video, #climateaction Twitter feed, dimensions vary
Clear as Day, a time-based multimedia installation. It presents a real-time Twitter feed of the hashtag #climateaction; a term often used to denote there is still hope for the environment. By presenting this scrolling text on the gallery wall over projected clouds of billowing red, white, and blue smoke, the work becomes a visual manifestation of political and environmental dialogues taking place online.
Tweets containing this term appear dozens of times an hour on average. As they scroll by, the installation references the short-lived relevance of any single tweet among the 350 million posted every day. This hashtag is most often used as an expression of horror, dissatisfaction, and skepticism of the current state of American political affairs or out of concern of the planet’s well-being. As the tweets build up over the day, the work highlights Twitter’s collective impact, becoming a visualization of social media’s power to connect us. It also underlines the increasing difficulty in distinguishing truth and relevance in the online world.