SNKR was a collaborative project with movement and video artist Kelly Rauer, resulting in videos, sounds, performances and hybrid combinations thereof.
This video backdrop for the percussion ensemble Secret Drum Band combines extreme macro footage of mushrooms, leaves and plants with extreme telephoto footage of the sun and moon.
This music video for my track, Stint, was a collaboration with sculptor and photographer Harrison Higgs.
This 4-channel video installation was created to accompany a performance by Heidi Duckler Dance Theatre NW at The White Box Gallery, University of Oregon. I shot footage on the day leading up to and including the group’s site-specific performance in a burned-out and graffitied building. The rain came and went, creating puddles that reflected the textures of concrete and spraypaint. Colors darkened into night against the architecture with dancers in yellow and silver raincoats. Within the gallery, four screens surrounded the viewers on all sides for a 10-minute screening.
My camerawork and sound design for this installation captured Rauer leaping, jumping and crawling through the empty space of a blank, sunlit studio. Four video projections were arranged throughout the gallery along with four televisions of various sizes. Viewers were surrounded by stuttering sequences and asynchronous rhythmic gestures, unable to see all screens at once – or any screen in isolation. From rafter-mounted speakers emerged closely-miked recordings of separate but similar movements, mixing with the small scattered synchronous sounds on television monitors. The gallery space was filled with creaky footsteps, bodily thuds and breathing.
I created a series of short trailers for Tahni Holt’s dance performance, Sun$hine, with music from the production by Thomas Thorson.
Children’s Games was an evening-length performance combining cinematic images with sung and spoken voice, abstract sound, and performative actions. The piece drew inspiration from the 1560 Breughel painting (of the same name) and the 1970 Truffaut film, The Wild Child.
Children’s Games celebrated the associative, fragmentary and irrational aspects of play and explored the traumatic colonizations of wild space. Onstage, a chorus dressed in the medieval garb of the Breughel painting conduct vocal games and patterns.
Video projections, recorded sound and live voices mingle before giving way to an enigmatic noise band.
This dance performance, created and co-directed with Linda Austin, was based on a “forgetting” of Seijun Suzuki’s 1967 cult yakuza film, Branded to Kill. Themes, images and language emerged in our thinking through and half-remembering the freewheeling surrealism of the film. Against the back wall, projected fragments of video narrative and noir imagery flashed amidst the dancers.
This performance combined 6-channel recorded sound with 12 live vocalists and 4 video projections. The performers flashed colored lights and moved through the large warehouse in simple geometrical configurations. Interacting with the spatialized recorded textures, they produced clusters of sound with voices and sound-making objects. Encircling and moving among the audience, the percussive whacking of boards strapped to feet, rustling of large laurel branches and the tonal friction of small bells dragged across the floor. Patterns were informed by research into the emergent properties seen in schools of fish or swarms of swallows. On the four projections, colorful flashes of images: painted faces screaming, dancing figures, recombining words.