2019, live  .  digital 8 camcorders, projectors, robotics, arduino, speakers, macbook

Two cameras, two projections, looking at each other’s output produce an infinite feedback loop. Projection casts light, which creates tiny shadows in the imperfections of the wall. The iterations magnify and mutate into fragmented organic patterns. In addition to the image, the RCA video is split and filtered through an audio channel. Black translates as silence and white as full spectrum noise. The sound is shaped into resonating harmonics. 

This artwork was made possible with the generous financial support of The Toronto Arts Council and the Ontario Arts Council.

Going Gray

2019, live  .  digital 8 camcorders, crt tvs, 4k flatscreen, 4k camcorder, live optical rescan

A flat screen framed in a round portal reflects the ragged portrait of the viewer. A live feed is relayed over and over to a monitor, rescanned by a camera, to another monitor, and so on from room to room, until the live image returns from its journey. The portrait has been ferried through space optically, not by wired signal. Analog erosion from the passage draws creases, ripples, and noise into the flesh of the face.

This artwork was made possible with the generous financial support of The Toronto Arts Council and the Ontario Arts Council.

Sands Stand Still

2019, 8:00 minutes  .  surveillence mirrors, wood, micro projectors, dulltech players, induction sound, crt static, vellum, speakers

A monolithic pillar in two segments, joined at the center suggests the flow of time. A mirrored infinity cube, at the center, marks the eternal “now”. Electrical pulses and static replace sand in this hourglass, breathing in and out shifting from black to white. The noise drawn by the electron gun is heard by an induction mic. The sounds are sculpted into vowel sounds using formant filters: “In” and “Yo”. An old mantra translating as light, dark.

This artwork was made possible with the generous financial support of The Toronto Arts Council and the Ontario Arts Council.

The Cave

2019, 7:00 minutes  .  VHS camcorder, VCR, ultra short throw projector, matress, speakers, macbook

A VHS camcorder films a couple in silhouette, intimate. Each time they record themselves they then swap the tape to a VCR which projects their act on a wall behind them. With each recording, the previous event recedes further away creating picture-in-picture depth. Observing themselves, they shift from subject to object, from self to other.

This artwork was made possible with the generous financial support of The Toronto Arts Council and the Ontario Arts Council.

cle final

Sphere of Influence, Circle of Protection

2019, 10:00 minutes  .  video multiplier, projectors, broken mirrors, flash, midi to voltage converter, speakers, macbook

POV projections of collisions. A reference to the parasitic relationship between anonymous lurkers and self-broadcasting dash cam posters. The panorama, similar to a vanity mirror, encompasses the peripheral view. Duplicate crashes rush in from every angle simultaneously. A powerful strobe casts the ghostly afterimage of blank walls and a shimmering circle from broken mirror glare into the eyes where it resonates and builds with each additional collision.

This artwork was made possible with the generous financial support of The Toronto Arts Council and the Ontario Arts Council.


(second construction install with intersecting screens)

2017, 8:00 minutes

Two projections intersect each other creating a symmetrical X, loosely referencing the different halves of the brain; the first consisting of colour and melody, while the second focuses on monochrome textures and rhythmic noise. The first channel is entirely composed of video glitches, as a result of hundreds of edits made ala prima as a continuous stream of consciousness. The second channel was on consciously planned reply to the subconscious first channel. The glitches were generated using a power failure method with Atari 2600 game consoles, captured with a time base corrector (TBC), and sorted by aesthetic likeness both in colour and tone.  

A pdf of the essay Dataism authored by Shauna Jean Doherty, a commentary on Janus, is available for download here.


Lethe Baptism

2014, 2:06 minutes, installation loop (additional 1:03 added here only)


Memory is the final format. The finished edit is output as separate soundtrack and imagetrack. Viewers pass through a tall blue (the colour of signal loss) velour curtain into a large screening space. The audience must piece together the edits of image to it's sound and decode the meaning of the recombinant clips and the significance of their order. I recommend viewing this on a large monitor or projection, and with speakers in a pitch dark room.

please play on loop.

The original installation (2:06 minutes) never showed the sound and image together, so I've added that here at the end to give people a slight advantage at decoding and making comparisons.

Previews of the prints can be found in the PRINT section, here.

Oracle I and O

2013, 5:52 minutes, installation loop


The vanity of the looking glass is interrupted by milky clouds of constantly changing Rorschach phantasms. The viewer is led to ignore their familiar features and attend to their true reflection through free association and subconscious influence. The effect is achieved by mixing nurturing benign milk with an intoxicating and bitter concoction of dark alcohol spirits. The Dark and the Light, I and O are a reference to a samurai chant for clearing the mind while practicing archery on horseback... I, O, repeated until the mind is cleared.

Braided power cord, handcrafted hardwood, reconstructed LED monitor, USB flash video loop, digital media player, two way mirror plexiglass

The Life of Death

2010, 5:39 minutes, installation loop


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.

Rear projection on fine white tulle cloth, floor to ceiling at 1:1 scale match for accurate overlay of the space in which the original recording of the television stop motion animation was recorded.

(documentation exhibit walkthrough)

2012, 9:39 minutes


Necropolis is an immersive multi-media meditation on the nature of video and its strong affiliations with death culture. Consisting of six installations housed within a twisting, darkened superstructure, Necropolis channels visitors through stages of erosion, narcissism, acceleration, idolatry, self-doubt, and oblivion.  Catalog available from The Museum of Contemporary Canadian Art. UPDATE: Necropolis was exhibited in Ottawa by Karsh-Masson thanks to the tireless curators at Artengine. The space was smaller than MOCCA so the sections Analog Tide and Blind Spot were subtracted for this itteration.


Download the PDF with full descriptions of each artwork

Contains the artworks:
Analog Tide
Forever Endeavour
Blind Spot

These artworks were made possible with the generous financial support of The Ontario Arts Council, Toronto Arts Council, and Toronto Friends of The Visual Arts.

Fire and Theft

2009 (redesigned and reconstructed in 2019),
live earth cams, mac minis, projectors

Tracking the sun’s course from multiple vantage points, our vision is multiplied by live webcams overlooking city skylines. The surface of the earth is folded in on itself forming our own panopticon. From this omnipresent vantage point, the sun is trapped, rising and setting from screen to screen from hour to hour, creeping ‘round the room like a tethered phoenix.

This artwork was made possible with the generous financial support of The Toronto Arts Council and the Ontario Arts Council.