My practice is rooted in treating video like painting, sculpture, or collage—as material rather than a cinematic medium, draining its narrative power to reveal it as a mere object. I build animated patterns from footage of subject matter that is threshold, cyclical, or "ornamental"—wilting floral arrangements, intertidal species, fireworks. I call these video tapestries: meditations on visual repetition, or visual chants. The bulk of my practice, though, is how I stage these alongside textile—sheer forms that expose structure, opaque cloth that cloaks it—to create dynamic installations. Increasingly, the role of the textile has become the lead one: it takes the foreground as subject, while the video tapestries become the backdrop. I then film and photograph these installations to build discrete bodies of work.

My most recent project, M/OTHER, illustrates this process fully. Set against a video tapestry of flowers wilting then reviving on loop, I staged and filmed myself cloaked in satin at eight months pregnant, in part after Victorian "hidden mother" photographs, in which caregivers were concealed beneath drapery to keep infants still for long exposures. This single source became three works: a triptych of large light box prints portraying the maternal in spare terms—belly, birthing positions; a hologram fan installation featuring my cloaked form duplicated and mirrored, making subtle movements against floral orbs, titled "Venus Figurines, 1–6," echoing the Venus and goddess figurines of the Upper Paleolithic and Neolithic; and "Seed," a 10-minute looping video projected at large scale, in which my form is further manipulated into a seed-like shape that endlessly multiplies, blooms, and recedes, mimicking the sacred geometry of the Flower of Life.

My recursive process continues with new work that translates M/OTHER's digital materials into tangible mediums. The 2D forms from the "Venus Figurines, 1–6" hologram fan installation are becoming 12 unique, small cast glass sculptures—an homage to those miniature figurines, some argue evidence of goddess-worshiping, matriarchal societies of Old Europe. Each form is converted into a 3D design, then 3D printed for mold making; the resulting digital wireframes read as both topographic and expansive, intimate and sensual—an inner landscape I'm translating into a series of solar plate intaglio prints. This marks a return to sculpture and printmaking after many years, and my first time working with glass, which I intend to explore further.

In a world where digital media now conditions us more than nature—flattening and hastening human experience—my work runs the opposite direction: it takes the moving image and gives it dimension, duration, and weight, exercising its capacity to flex across modalities, from immersive video projection to screen, sculpture, print, and beyond. I slow the image down, strip it of narrative, and return it to the world as something registered in the body.