I create video installations that position viewers in a liminal space, inviting them to pause and occupy the gray area between two opposing ideas or conditions. Here, the experience is not fully one thing or another but a blend—a “third thing.” Paradoxical states that evade clear labels have fascinated me since I was young, growing up between two different households on opposite coasts of the country and in constant flux. I’m interested in what it means to occupy these transitory spaces where our conventional modes of organizing reality no longer apply. My work mixes manipulated footage of natural landscapes with field recordings and human noise, luring viewers in with beautiful visuals and/or audio and then introducing elements that create a subtle sense of discomfort, eliciting conflicting emotions. Sounds of walking, breathing, chanting, and humming are common sonic motifs I employ to represent a human presence that never fills the frame. The aural experiences are restrained yet defining, establishing the “formless concrete” or “third thing” whose presence is felt but not seen. I often use editing techniques that reveal the “objectness” of video: footage that de-prioritizes realism and technical excellence in favor of exposing video as an intermediary veil that separates the viewer from reality, building on video art’s legacy of interrogating the supposed neutrality of the tools of mass media. Three-dimensional installation has become increasingly important in the presentation of my videos for its ability to create a physical manifestation of the “third thing” where binaries are collapsed, suspending viewers in an extended state of mutability.