I make videos using already existing material to play with the identity crisis of video and the cultures that produce it. I turn to technologies and images whose relevance is faded, as these can be more instructive than contemporary artefacts. Recent projects have focused on the anxiety that necessarily accompanies subjective responses to infinite possibilities, endless customization, and the imperative that a subject define themselves through the act of decision making.

My work is indebted to an understanding of moving image history, including works created by other artists, both mainstream and independent cinema, and vernacular moving image expressions, in particular those supported by the profusion of online distribution channels in the mid-2000s. Through intensive, fan-like viewing, I think through the ways historical work has prefigured contemporary circumstances, finding echoes of the present in the past, prognostications of future possibilities in meme video editing techniques, and locate moments in these source materials that unravel the easy distinction between historical phases, viewing contexts, cultural stratification, and formal strategies.

My recent work has increasingly dealt with the way we navigate between irreconcilable positions - whether looking at the conflict between virtual and physical realms (A franchised glitz dealer); the effects of chance, retroactively embraced as a decision, on the narrative a life can take (Sliding doors; Blind chance); subjecting a film clip to minute analysis of each microdecision, pause, and self-doubt, all in the shadow of apocalyptic imaginary explosions (Willing to die); or in the futile attempt at integrating differing camera angles, timelines, and locations in a single video (If you feel it let it happen).

The role of looping, repetition, and drones has been present in my work for the past decade, but in the past year it has taken up a more central position in the way I think about my videos. As an artist who exclusively works with already existing image material, I’m constantly thinking about the things that are lost and gained when a clip is recontextualized. The isolation and redeployment of a clip are not just concrete decisions, but also carry allegorical meaning – when a part is separated from the body it constitutes, or when a discrete element of a group is taken to stand as a representation of the whole. My videos over the past year have used looping and layering as a way to attempt to build ambient, spatially affective environments that have a sense of entirety or completeness, in spite of their being built out of minute, incomplete clips.

Over the past 30 years, objects and images saw their virtuality stripped from them and reconstituted externally as an ever-expandable, flat network of communication without object or end. Now, it is possible see this network fracturing, raining back down onto the material landscape from which it derives its magic in the first place.