LETHE BAPTISM, solo show at Neubacher Shor Contemporary
June 12 6-8pm Toronto

Inspired by the confounding nature of memory, the inability to forget what haunts you and remember what you cherish, as well as my ongoing love affair with analog recording as it echos our imperfect memory. I've wanted to work with lenticular prints for ages especially using my own photo documentation of decaying video portraits. For those of you unfamiliar with lenticular printing, it's that corrugated format that animates as you tilt it or walk past it left to right. In addition to these I'll have a pair of large photo blow ups and in the back room, a memory experiment where I've separated the sound track from the image track leaving the final format as the viewer's memory complete with imperfections. Come share a beer and a chat.

More info at the NSC website here

Facebook page here

PØPMY$‡IC, group show at The Residence Gallery June 13 7:30-10pm London UK

This looks like a killer collection of works which I will sadly be unable to attend in the flesh, but my printed video stills will pay witness in my absence. Curated by the talented, charming, and challenging Ingrid Zee. Here's a brief description followed by a list of featured artists:

Hijacked aesthetics of the esoteric commune with the debris of popular culture to swirl around the space like opulent cryptic codes.


More info at The Residence website here

Facebook page here

Q: What is Jawa technique?
A fully updated explanation of Jawa and how to go about doing it yourself is available in the manifesto PDF below. No more confusion I hope. Feel free to contact me if you need more details or if you’d like me to do a workshop in your area.

Jawa Manifesto PDF


Artist CV
A full list of my screenings, installations, and performances is available on request. You can download my condensed CV here:

Artist Short CV 2014 PDF

Feel free to contact me directly for individual purchases. Curators and Institutions can access my work through the following:


Toronto, Canada


Paris, France


Feel free to contact me directly with questions, comments, booking requests, dvd purchases, collaborations, or links to your work.

Hydra (preview)
Collaboration with Nohista
2013, approx. 25min
live a/v performance

Inspired by the New York school of abstract expressionism (Rothko, Kandinsky), game glitch culture, and Greek myth, Hydra pits human compositional decisiveness against unpredictable machine generated content. CRTs display expressive signals generated from Atari 2600s. The only way to "tame" the audio/video is to black out the power. By converting midi into voltage, the Ataris are transformed into rebellious instruments. For every head we cut off a new defiant signal replaces it.

Temple (preview)
2012, approx. 18min
live a/v performance

The performer has replaced the shaman/priest, and the screen/sound has replaced the performer. Pulling from the cultural dictionary of cinematic micro phrases to deliver a ceremonial edit of sigils and signs. In this post-faith, post-flesh world, our spectacular séance will weave recorded media (aka the power of the dead) into a spastic orgy of cut ups.

Necropolis (large scale installation)
2012, six room, multimedia, emersive space

Detailed descriptions for each piece available on request. "Ultimately, Richardson wants you lost in the machine — the ideal and most potent metaphor for our all-encompassing, constantly-televised world Richardson seems to be actively dismantling here. Richardson pushes past the surface, and shows us darkness at its heart."-Murray Whyte, Toronto Star

Firing Squad (preview)
2011, approx. 17:00
live a/v performance

A projected wall of television sets, targets the audience like paparazzi. Powering off older tube televisions results in the electron gun producing a unique fingerprint and sound as it collapses. These brief recordings are triggered in real time with midi sequencing. The televisions are filmed with perspectives suggesting camera flashes or machine guns, leaving the audience to decide if they are the celebrity or the victim.

Black Boot Red Carpet
2011, approx. 1:13

A glittering spectacle invoked through the merger of concert fans' flashbulbs, night vision gun fire, and the roar of sports stadium mobs. The distinction between joy and terror is made muddy.

Paradise Disko (installation)
2010, 5:15
black and white / no language

Puts the k in Disko like Magick. Illustrates the shift to the dark side of the dance floor and the end of the party as it was once known. Welcome to a world of hipster early adoption, endless irony, and rampant cultural entropy, all for the lulz of course. Music by Proxxy. Commissioned by Toronto's Nuit Blanche 2010. Curated as part of a collaborative installation with Derek Mainella at The Social.

ANTI (live performance)
2010, approx. 16:00
colour / no language

Pulling from the ghost in the machine, this set is composed entirely from digital detritus: the signals that exist outside of recognizable content. These signals are normally invisible or censored by our user friendly, blue screen block, copy-protected world. Using a vintage analog time base corrector, these wild abstract expressions are lovingly collected and then carefully manipulated to create new melodies and rhythms. The compositions are arranged, mixed and modified during a laptop performance using Ableton Live and Arkaos software. Source footage captured using vintage televisions, an atari 2600, nintendo entertainment system, korg ms20, miglia capture device, and time base corrector.

Omega Generation
2010, 4:25
colour / english

The individual versus apathy and the bullying ravages of time.

The Life of Death (installation)
2010, 5:38
colour (HD 720p) / english

Long after our death, the canned laughter of our youth echoes on. Our digital phantasm is teleported into the future and experienced by an unknown audience like starlight bridging the abyss of cold darkness. A vintage tube television, a solitary figure, sounds and images—edited in many spaces and many times—converge to produce a sculpture in four dimensions. Inspired by the golden age of live television and one of it's greatest teleplay authors, Rod Serling. Originally projected on tulle mesh as an installation at AWOL gallery.

Temporary Temple (evolving live performance)
(Collaboration with Rko)
2009, approx. 20:00

Performing as "mediums" pulling from recorded media, the power of the dead. Clips are collected to form video "dictionaries" of primary symbols or universal archetypes. The performers improvise a duet made entirely of the video clips. The sounds come from the source videos. The performance creates a temporary temple for the audience, a focal point filled with celebrities, static and gods. Video content will be selected in a stream of consciousness style of editing, music concrete meets video cut ups inspired by Burroughs and Gysin.

The Vision, the Voice, and the Void
2009, 3:00
black and white / no language

Feedback from a CRT monitor is captured and then the video signal is split into video and audio channels so you can hear the sound of the black and white pixels being displayed. The image along with its signal sound is then edited. Inspired by Kentaro Taki's feedback experiments.

Fire and Theft (installation)
2008, endless real-time live feed
colour / no sound

The sun has been worshiped as a god, our source of light and life, measuring out our time and dictating our days and nights. Using an array of live streaming webcams in different time zones around the world, our eyes will multiply to penetrate distant lands and the surface of the earth will be folded into our own panopticon. From this omnipresent vantage point, we will bask in the sun's light as we survey the lives of others. Its rays will be trapped and redirected and the unique beauty of a sunrise and sunset will be sustained and repeated from hour to hour, screen to screen, creeping round the room like a tethered phoenix.

The Conversation a.k.a. Everything Is Everything (live performance)
(Collaboration with Kentaro Taki)
2008, approx. 20:00
colour / japanese and english

As the speed of information grows, culture viruses expand and coalesce. The global homogenization of symbols, meanings, voices seems inevitable. Two artists, their common first language, video. Through sound and vision, Kentaro Taki and Tasman Richardson will attempt to harmonize, synchronize, and improvise a culture clash of stolen air transmissions from their native broadcast geographies. What differences, if any, are left in our spectacular conversations of post-everything tele-presence?

The Game
2007, 3:52
colour / english

What is a game and what is real in a world of remote control warfare, hyper-reality, and military crafted videogames for recruitment? Emilio Estevez, Matthew Broderick and even Burroughs team up to explain.

Life and Death
2007, 4:25
black and white / no language

Uplifting show tunes are slowed down to create waves of moaning sludge and drama. Layered, they generate radiating trails of ghost images and reverberation. Clips are edited and reordered to create a montage of birth, transformation, clouds, and death.

Weird War Tales (re-edited condensed version)
2007, 10:00
colour / english

Appropriated military fusion epic which composites a broad selection of absurd violence both missile and melee, abstract and personal. All edits are strictly JAWA style so the "music" you hear is entirely constructed from cut and paste video edits.

Pirates of Breakcore Island
2007, 20:25
colour / english

Epic mega mix of appropriated sea (and space) faring sources. Takes us on a mashed journey from man eating sharks to titanic zombies and screaming ship captains of the past and future. Naturally, all edits are JAWA style so the "music" you hear is entirely constructed from cut and paste video edits. This one's layered HEAVILY so look closely.

Modern Problems
2007, 16:00
colour / english

Appropriated distopian futures coalesce into a raving spectacle of the retro, the explosive, and the stroboscopic. All edits are strictly JAWA style so the "music" you hear is entirely constructed from cut and paste video edits.

2006, 17:05
colour / english

Tasman Richardson's Shadowplay lays bare the post-human vacuity of pre-recorded existence, echoing Burroughs' reflection on modern civilization: "nothing here but the recordings." With a brief explanation of the history of recording media, Richardson describes our brave new world of artifice, emptiness and illusion where the magnetic ghosts of civilization have conquered the living.

I Stole the Soul of Rock n’ Roll
2006, 6:30
colour / english

Through the miracle of video, space and time are collapsed to merge the performances of Ice Cube, Zeppelin, Public Enemy, The Who, and many more, while Charlton Heston chimes in with a little gansta rap. Folded and manipulated into perfect synchronicity in true mega-mash post-everything style.

In The Eye
2006, 2:34
colour / english

Mirror and camera metaphors for self-reflection, self-destruction, and narcissism.

2005, 3:37
colour / english

"A shadow shall fall across the universe and evil will grow in its path... and death will come from the skies". Ripping animated lightning flashes, images of she warriors, wizards, alien invasions, undead and all things 1974. Love that Lochnar!

2005, 3:52
colour / english

Breakcore edits of Village of the Damned, Night Gallery, Halloween 3, Devil's Rain, Omega Man, and the Rockwell video Somebody's Watchin' Me. If you don't see the correlation, you must be blind. Commissioned for the FAMEFAME Halloween event Flight 666 at the Museum of Contemporary Canadian Art.

Psytrance Sucks
(7/7 Basement Boy Hardcore series)
(Collaboration with Elenore Chesnutt)
2004, 3:00
colour / no language

Computer-generated landscapes populated by ascii porn painstakingly converted frame by frame by my methodical partner, Elenore Chesnutt and punctuated with an array of Atari 2600 classics. Rhythmically edited (naturally), but psytrance it ain't.

Goin' Back to Kali
(6/7 Basement Boy Hardcore series)
2004, 4:00
colour / english

Hardcore remix of a hip hip classic on a Kali Yuga tip, emphasizing the unstoppable entropy of information and the erosion of time, flesh and spirit. Eat your heart out, Indy!

Destro My Tokyo
(4/7 Basement Boy Hardcore series)
2004, 5:22
colour / english

My gaijin dreams fulfilled! ‘Zilla battles Tetsuo in this generational war of Japanese atomic monster culture.

Delete Yourself
(5/7 Basement Boy Hardcore series)
2004, 1:00
colour / english

Snuff video emulating a video game emulating a snuff video. In short, a hardcore remix of Rockstar Games' ruthless stalker slasher game Manhunt.

The Special Olympics
(collaboration with Jubal Brown, Josh Avery, and Elenore Chesnutt)
2004, 7:00
colour / english

View discretion is futile. Comic tragedy in extremely poor taste designed to provoke rage, tears, shame, disgust, and laughter.

The Hymn to Thanateros – TIAMAT Edit
(original solo edit)
2003, 7:00
colour / english

Hundreds of cinematic micro-samples weave into a bleak, abstract narrative, culminating in the unification of all sexual and morbid signifiers transforming through stages of the physical, emotional, and spiritual.

The Hymn to Thanateros
(with Jubal Brown)
2003, 20:20
colour / english

Hundreds of cinematic micro-samples weave into a bleak, abstract narrative, culminating in the unification of all sexual and morbid signifiers transforming through stages of the physical, emotional, and spiritual.

America’s Funniest Death Rattle
(Collaboration with Michael Lane)
2003, 29:51
colour / english

Long before YouTube’s existence this scrapbook of found footage was edited together with footage taken from the hard drives of anonymous Americans using file sharing software over the Internet. This series of vignettes presents, in our opinion, an accurate portrayal of the decline of the American people into self-indulgent, obese, perverted ghouls living on semen, gun powder and pop music.

The Kraken (installation)
2003, 6:45
colour / english

Faces and vessels reportedly lost in the Bermuda Triangle are faxed in relay and degrade with each imperfect transmission, each movement through space and time. Lo-res waves are de-tuned by slowing them multiple times and layering the results. The entropy segments are punctuated with audio collected from numerous airline black boxes, recovered from wreckage and combined with original footage shot from a small private airplane. Originally screened as part of an installation at Katharine Mulherin Contemporary Art Projects.

Attack of the Clones, The Musical
2003, 5:30
colour / no language

Complex musical/visual composition made entirely using “The 6th Day” as source footage. Commissioned for the Attack of the Clones FAMEFAME screening, in which every artist was limited to the same movie for sampling. An experiment to empirically demonstrate how appropriation does not infringe copyright because every video artist creates something unique and transformative through their own expressive edits.

Blackest Sabbath
(3/7 Basement Boy Hardcore series)
2003, 6:00
colour / english

Assault and battery via composited images of Ozzy, nazi werewolves and anti-drug educational videos from the 60s unite into a relentless hardcore anthem invoking the dark lord himself.

Dorian Gray (installation)
2003, 3:00 loop
colour / english

Images of the elderly afflicted with Alzheimer's are pan and scanned while black ink animations of the artists’ confessions and doodles are scribbled into the wrinkles of the faces, with each confession the faces become more monstrous. The visuals are accompanied by the life philosophies of Lord Henry from the film adaptation of Dorian Gray. The Tape is played and recorded between two vcrs so that the longer it plays the greater the generation loss. Eventually the tape is completely reduced to static and the artist emerges with a clean conscience. Unavailable, master tape destroyed in the “Erase to Clear” show by 640x480.

(collaboration with Jubal Brown)
2003, 6:53
colour / english

The masterpiece triumphs over the souless forgery when Alfred Hitchcock's Psycho and the shot for shot remake are layered on top of each other.

Vader Lives
(2/7 Basement Boy Hardcore series)
2002, 3:00
black and white / english

‘Nuff said, he lives forever. Bow to the might of Lord Vader! Seriously, Luke won't have him but I wish he'd adopt me.

Draw (installation)
2002, dual screen, 5:00 crt monitor, 5:00 projection
colour / english

Proposal for the impotence of kinetic expectation: In the infinite sequential facets there can be no completion, satisfaction or wholeness. only that which conceives and never attempts can be whole. the act of execution can only fail to produce a precise likeness. the simulation and facsimile rule temporal reality. –t "Nothing stays its course, it is persistent" – Spinoza

And They Shall Know Us by the Trail of Kung Fu
(1/7 Basement Boy Hardcore series)
2002, 2:00
colour / english

Dim mak for your eyes, ATSKUBTTOKF mixes beats with beatings by cutting rhythms from classic kung fu films.

The Tower
2002, 3:40
colour / english

Extended remix of Enter the Ministry. A romantic interpretation of the flaming death of youth and beauty under an uncaring omniscient gaze.

The Adversary
2002, 1:43
colour / english

Extended remix of Enter the Ministry. The third and final remix in "The Tower Trilogy" reorders the pre-established language of vengeance and failure to resonate with a new call to arms. Glorious praise for fanatical passion and the endless, unquenchable conflict perpetuated by adversarial polarities unified by their blind hate.

2002, 2:00
colour / english

Witness the devastating real-time effects of force and resistance. See and hear Drum n' Bass edits of insurance crash tests.

Night of the Living Dead
2002, 1:30
colour / english

In the twilight hours of broadcast limbo, the needy, hopeless and lonely are visited by the merchants of death, the necromancers of infomercial infamy, and the succubi of the damned.

I.A.O. - Tiphareth edit
(collaboration with Jubal Brown)
2002, 17:12
colour / english

Video invocation of the mystical formula of I.A.O. which can be interpreted as creation destruction and rebirth.

Architecture of Doom
2001, 1:52
colour / english subtitles

You're not buying a product, you're buying a lifestyle of uniformity, cross-product compatibility, and fascism. Designed for a collaborative installation with Jubal Brown and Robin Simpson and Commissioned for the Lebensraum exhibition at Toronto’s West Wing gallery.

Mother May I Sleep With Danger?
2001, 1:02
colour / english

A raging death metal satire of the media's teen death obsession. Commissioned for the Dead Teens exhibition at Toronto's West Wing gallery.

Apollo Shrapnel : Part 01
2001, 3:50
colour / no language

Video noise reminiscent of lightning bolts and high pitch tones with vertically scrolling brightly hued pixels. A video mantra for Apollo.

Apollo Shrapnel : Part 02
2001, 4:08
colour / no language

The sound of marching, pulsing, and the texture of splinters. A video mantra for Apollo.

Apollo Shrapnel : Part 03
2001, 5:35
colour / english

All things atomic and nuclear. A video mantra for Apollo.

Apollo Shrapnel : Part 04
2001, 3:24
black and white / no language

Photographed suns, appropriated from worldwide archives, are animated and combined with Foley sounds. A video mantra for Apollo.

Matt : 15 : 9
2000, 4:10
colour / brief english subtitles

Pope John Paul picking his nose and eating it. Each frame of the video clip is painstakingly converted to text using a GIF to ASCII converter and then reassembled as an animation. Since idolatry is frowned upon by the catholic church (and islam) the image of the pope is converted to a kind of contemporary, computer age calligraphy which creates a work around and allows us to stare freely at this very human, and far from infallible, behavior.

Restless < Wrath
2000, 5:25
colour / no language

Progressive layers of textured 8-bit violence and shrill tone pass between discordance and harmony. As time elapses, rings are multiplied like the cross section of a tree. The evolving signal mutates until the tones are too numerous to separate and, eventually, the competing voices cancel one another.

Atari 2600 Remixes
2000, 15:30
colour / no language

Abstract narratives woven from 8-bit video signal; primitive, yet yielding a multitude of textures, tones and expressions. A steady pulse overlaid with interference and harmonies of percussive layers laced with turbulent noise negate resolution and fulfillment. Made by recording and editing voltage spikes from cartridge-tilting in an Atari 2600. All sounds and images are unprocessed, only sequenced through straight-cut editing.

Analog vs. Digital
(Collaboration with Leslie Peters)
2000, 5:13
colour / no langauge

Controlled mutations and natural selection, a.k.a. an exercise in remixing, pitting Peters' analogue techniques against Richardson's digital cuts.

Enter the Ministry
1999, 1:09
colour / english

A blazing call to arms commands us to release the fiend (as Robert DeGrimstone would put it). Rising anticipation of strife and death. Symbols of fanatical fundamentalism.

1999, 1:26
colour / no language

The macroscopic space of the monitor folds in upon itself layer by layer, like a sublime egg, into a finite singularity. The sound forever bit crushing, resampling lower and lower as the screens implode.

1999, 2:07
colour / no language

Microscopic spaces penetrated to reveal layer upon layer. Pockets of nothingness interrupted with irregular pulses of tissue, sinew and noise.

1999, 0:20

The Japanese flag reanimated by the spectacle of the sun as viewed by inhuman eyes. The sun displayed in detail that the human eye cannot hope to see. Infatuation with solar might.

1999, 1:37
colour / no language

Dense, red space gradually unveils the dividing cell becoming a horrified expression accompanied by a shrieking tone. A whimsical, flippant comedy about revulsion and birth.

Restructuring A & B
1997, 1:53
colour / no language

Time and velocity glorify the sword and the club—two ancient symbols.

1997, 1:36
colour / no language

The viewer is confronted by an extreme close up of the artist's face—teeth clenched and flesh reverberating to the violent pounding of an angry, self-loathing fist. With epileptic strobing, alternating frames display a stroking fist clutching a cock, accompanied by the sounds of construction, machinery and smashing metal.

1997, 0:47
colour / no language

A grid of halftone dots, rapidly congeal to form the title SCRATCH. Patterns of noise and colour are edited rapidly. Each pattern is accompanied by its own unique sound which has no recognizable meaning. The images are nothing more than glitches: the discarded and damaged portions of video artworks, lovingly gathered and composed. The sounds matched to the images are taken from gibberish typed into text-to-speech software. The voices have been paired randomly with a visual counterpart. The entire piece is a result of incidence, the choreography of disorder.

Act V
starring Laura Stewart
1997, 0:35
colour / brief english

Cut from black to a girl, her long, black hair glistening on the surface of dark water, criss-crossing like eels to form a veil in front of her. All of her is submerged from below the eyes. Flashes of television static appear in the water, illuminating her face.

Happy Luck Fun
1997, 0:37
colour / english

Appropriated footage captured spontaneously and by chance from a television cablecast. Scenes from a demolition derby, a Japanese cartoon, and a documentary on India are edited together to illustrate the acceptance of violence as an entertaining and enjoyable activity.

starring Jada Daversa and Jubal Brown
1997, 0:55
black and white / no language

Two beautiful, androgynous youths in violent seizures as they attempt to kiss in vain eternally. Between them, they pass back and forth a handgun. The stop-motion animation and soundtrack are composed with a flatbed scanner.

(Collaboration with Jubal Brown)
1997, 5:00 loop
colour / english

Explicit pornography is rapidly straight cut edited together with recordings of violent deaths using in-camera edits and a rescanned television. The rhythm of alternating content is steady and relentless with only brief instances of longer, uninterrupted clips. The cumulative effect is a numbing form of information entropy in the viewer followed by waves of emotionally charged shock. During these charged moments, viewers are encouraged to make a wish.

1996, 0:56
colour / no language

The re-contextualizing of the symbol and the resultant fast, easily consumed, muddy result. Dedicated to all cultures once noble, now dead and assimilated into the North American palate.