"Within my installations, video works presented on screens are like framed paintings, serving in a scene as a point of interest which has the potential to evolve overtime. Videos that are very slow-moving moving and presented alongside endless loops draw attention to the passage of time in a subtle way that is almost a trick."

"My understanding of the importance of time and image as a form of material emerges as part of my interest in history and time, and in understanding personal histories and those experiences of time as it passes. The loop in a work of video is an attempt to deny death by creating a moment that lasts “forever.” Here, objects stand in as a representation of discreet lived moments."

"'STREET TRASH' represents time as a snapshot, typically moving but momentarily suspended. It exists as the residue of performance, documented in photographs and continually occurring in my studio and the world, broken up and divorced from temporal reality to stand as a physical object. It is an attempt to lay everything out bare and take it for the ‘mess’ it has been, also exemplifying the earlier discussion of material time as having the ability to manifest itself through objects."

"Before surveillance became what it is – a 24-hour, 365-degree thing extending even into virtual space – certain, mundane things might have simply been agreed upon as “unknowable” and gone by the wayside. This is not to say that by observation alone things necessarily become “known": only that when we can see, we can believe that we do know. The photographic lens and all its hardware allow us to rest easy in the fact of a consensus-based reality: in the erroneous belief that seeing can be both being and believing."

"We find ourselves in the post-Internet (since 2009 or 10), post-media age, (post not meaning after, just after it was new and exciting) living lives that could be said to have never actually happened at all unless captured somehow: just memories, existing only to ourselves and in images if we’re lucky enough to have gotten any.   If I wanted to roll everything into another “post-___” turn of phrase, one could call it post-reality. Now that we are aware of ourselves and the things around us, mining so-called reality for the thing that is even further underneath that – what makes up societies, cultures, and microcultures: symbols. It's necessary to get beyond the idea of objective meaning, and empirical evidence, with the understanding that neither the eye nor the lens are objective observers. "

"The image and the idea of the self, observing the self from some kind of Godlike birds-eye view, appears often in my work (and the work I find interesting), as a metaphor for dissociation in this uncertain age. One is encouraged to go back through their own archives and attempt to reconstruct experience from tangible reference and symbols. "

"The ever-quickening pace of time tears people apart. We are not only stretched and distorted by age – growing and then, of course, shrinking again – but torn up by time, and away from each other. The absurd drama of human life is brought starkly into focus when we take the long view: so much so that at first blush it might trigger an utter despair."

“Acting [sic] inaction” is something said of my work during a critique of a video I produced in my first semester at RISD, and a term I remain enamored with. The phrase was used in reference to a series of videos I made featuring long takes of myself in costume apparently lounging, looking to either side and appearing positively bored. My video Two Story Home plays with this idea and contains multiple examples of myself as I perform this “action.”