In his essay, There are no visual media, WJT Mitchell takes up the notion of persistence of visual dominance in media culture. He posits that visual predominance can be quantitative and perceptual, relying on a host of other criteria to keep it around. Using this sort of exploration as a departure point, I am interested in bridging connections between history, memory and queerness.
Using video at the genesis of a collaborative practice, I approach each endeavor as a singular project in a serial conversation. My practice is inscribed in the physical application of film history, media theory, and contemporary debates around subjectivity and the boundaries of shared experience-- my work investigates events. In particular, the documentation of those events and the multiplicity of ways in which they can be presented. The work is grounded in the language of mimesis and the screen, all-the-while capitalizing on play, situation, and the understanding of individual thresholds within working relationships.
The production process is where all the elements of time and its participants can shape a piece. I gravitate towards working with different groups of people using video as the filter to find likeness. Much of my work seeks to understand queer as an evolving image between binary notions of gay identity while still being a product of that lineage. Integral to my work is the narrative behind the process of collaboration, each decision contributing to the larger whole of what a work can become.