VIDEO/ANIMATION


The process of making art asks me to be receptive to small moments. I film so that I can seize these moments. In this short film, I recorded footage of my summer almost every time I left my house. This video became my diary; I was constantly filming everywhere I went in order to preserve and remember what I had seen and done. All of the footage shot is completely candid in effort to capture raw and truthful moments with my friends, emitting honest and familiar qualities. I aimed to cultivate a nostalgic sentimentality, perhaps allowing the viewer to associate these memories with his or her own.


There is a severe lack of representation of mental illnesses in film, television, and popular culture. In the rare instances where disorders are exposed, the affected people are usually shown in a negative light. This animation aims to represent the struggle and isolation that comes from the harmful stigma surrounding these illnesses, hopefully informing the viewer that there is more to these “invisible illnesses” than what meets the eye. The story is written by Edith Neidhart.

In my work, I place significant emphasis on experimentation and have used tools typically associated with fine arts, applying them to conventional film or video. The drawings in this piece allow the viewer to feel the presence of an artist’s hand, allowing for a more personal viewing experience. By layering animation over video, I explore motion, form, and spatial relationships, all in means of creating a parallel between the drawings and narrative. 

-Awarded a Gold Key in the Scholastic Art and Writing Awards-


In this piece, I toy with the figure-ground relationship of multiple exposures in order to abstract views of daily life into more complex imagery. I am a somewhat oblivious person, and can usually be seen looking down at my feet. I’m interested in projecting my internal processing into an external environment so the viewer can gain insight as to how I take in the world around me. Justled voices, trains clacking, and water sloshing exhibit raw noise that we usually take for granted, and the visuals portray the same, but they are presented to us in a way where we are solely focusing on it to really take in their details.


I am very interested in the interplay between mediums and how they can be used to enhance or alter a subject. In this work I explored the relationships of both painting/video and 2d/3d media. Toying with these intersections allowed me to defy traditional conventions in means of exploring new ones.

-Awarded a Silver Key in the Scholastic Art and Writing Awards- 


This animation was hand-drawn in pen on a pad of post-it notes.



This experimental animation layers hand-drawn animation over digital video, simultaneously creating contrast and a sense of unity.


This study explores motion in water. The portraits are overlapped to explore patterns and abstractions on the human form.


In this work, I used multiple segmented compositions to help understand the human face and how it can be altered or replicated to make us uncomfortable. When we see a contorted face, does it make us uneasy? Why do we feel discomfort when the face looks different than we expect it to? When all of my parts are exactly replicated, how does the the juxtaposition of my features into different sizes and places still remain so foreign to us?


Perhaps we similarly present disjointed images of ourselves. There is a difference in how I think I am, how I project myself to some, and how I project myself to others. This often leads me to feeling like I am several different people, when in reality I am ultimately just fabricated by these manifold facets. Even when our DNA is broken down, it is separated into four chemicals: A, T, G, and C. My video illustrates all these distinct parts by dividing my face into several factions and then splicing them together, showing that they don’t always exactly match up, but ultimately fit together and form the sum of my identity.


In this piece I project videos on top and within each other, creating a parallel between the distorted visuals and psychology of layers. Each shot abstracts another, even though they all contain the same subject.


Over half a century ago, Marshall McLuhan stated that "All media exist to invest our lives with artificial perceptions and arbitrary value." In 2016, this still holds true. All legitimacy has been removed from serious issues in the the media in order to give the viewers what they want to see. Advertisements with harmful products are portrayed in a charming way to entertain the viewer in order to distract them from the harmful effects of their goods and services. TV shows depicting the "normal, average family" enforce a harmful and strict construct for the viewer's family to follow, keeping them in line. I am comparing the old pictures with modern day politics, especially Donald Trump, who is completely ignoring the seriousness of the matters he speaks of by instead projecting a humorous Schtick to appeal to the common viewer. My installation takes this concept literally, projecting the projections into a desolate home environment. We see these images in the fireplace, our kitchen table, a hallway and on our toilet. The whole world's culture is being uprooted, trying to attain the normality of the family they see on TV, as well as being spoon fed lies from the deceitful media. It's up the artist to remind us of who we really are, to retain our identities and to become independent from the crowd.


In this study I explore colors, forms, and space. Each clip is layered on another to both abstract and enhance the human form, which, in this piece, is defined by different hues and shades.