I grew up in Richmond, Virginia. I earned my M.F.A. from The School of Visual Arts in Photo, Video and Related Media and my B.A from Xavier University in Electronic Media. As a filmmaker, I work in experimental, narrative and documentary portraiture all focused on investigating desire and the human condition. My short videos and installations have screened internationally in festivals and galleries. 

After working in various aspects of film and television, I settled into post-production. I am currently an Associate Professor at the School of Film and Television at Loyola Marymount University in Los Angeles, CA. I have previously taught at School of Visual Arts and DePaul University. As an advocate of women filmmakers, I have co-directed three events at LMU with colleagues: Cinema on the Fringe: 1960’s Exploitation and its Legacies, a two-day book talk and film screening discussing the exploitation industry and the female body, Grrrls on Film, a three-day film and music festival, recognizing films directed by women and celebrating the rock and Riot Grrrl scenes, and Revenge of Grrrls on Film.

In graduate school, a professor called my sense of humor childish and that's true at least 2/3rds of the time.

Here is my CV.



The Sleeping Negro won the International Federation of Film Critics Award at the Mannheim-Heidelberg International Filmfestival.

The Sleeping Negro is playing the Denver Film Festival on November 6th and 7th, the Cinequest Spotlight Series on November 8th, the American Film Festival in Poland on November 12th, and IFFMH in Germany and Tertio Millennio Film Festival in Rome - dates forthcoming.

The Sleeping Negro has been acquired for distribution and will have a limited theatrical run in NYC and LA starting December 3rd.
It is also screening in the African Diaspora International Film Festival in Washington, DC from August 13-19 and the Champs-Élysées Film Festival in September. 

The Sleeping Negro plays at the Atlanta Film Festival at a drive-in screening on April 25th!

So happy to find out that Skinner Myers' feature The Sleeping Negro will premiere at Slamdance in February!  So glad for the opportunity to edit this film.

Had a lovely time as a guest curator for We Make Movies International who will be live-streaming this years festival from 9/16 to 9/20. 

My film The Story of Everything screens in the last block DIY MIXTAPE PART II on Sunday, September 20th at 4:30PM, PST.

It will also screen on November 10th in the MFA Photo, Video and Related Media Alumni Film Festival virtual screening block on Tuesday, November 10 at 6:30PM, EST.

Films I've Made

2021 (in-progress)
You Have Just Been Murdered, Installation (AR and analog)
Helping Amy, Narrative Short 
MemoryDistrust, Holographic short stories
The Story of EverythingNarrativeShort, 16 min.
Yellow Persona3-channel Video Installation, 13 min.
ReunionNarrative Short, 18 min.
The Popcorn KidDocumentary Short, 13min.
Scarlet, Experimental Short, 5 min.
Horns. Bells. Whistles. Documentary Short, 27 min.
There’s No Reason to go back to Cincinnati, Experimental Short, 2 min.
The Promise Land, Documentary Short, 6:30 min.
Stone Blind, Music Video, 2:34 min
No One Wants to Eat the Parsley, Documentary Short, 6 min.
Automatic,Experimental Narrative, 30 min.
13W, Documentary Short, 6min.
Room 323, Experimental Short, 8 min.
Car Wash, Experimental Short, 3 min.
Sacred HeartStop Motion, 4:30 min.
Where the Road Turns Dark, Stop Motion Animation. 5 min.

Artist Statement

There is a constant battle between my desire to make beautiful images, and with expressing the darker themes lying underneath. If life is filled with contrast, I exploit it. Self- destruction is a sub-plot; making moving images is my way to subvert my own memory- tainted narratives.

I make work investigating desire and the human condition, weaving between documentary portrait, narrative and experimental modes. My own creative process always creates more questions than answers for me, resulting in rarely being satisfied with a single approach or result. One film leads to the next in an organic, but not particularly linear way. I am influenced by the idea of the “death-drive,” the explorations of the human experience, dark humor and the self-destructive search for the value in life.

Although I consider post-production my niche, the processes through which I work apply to all of the layers of filmmaking. If stratum is a layer within a structure, the structure is filmmaking, and the strata become the modes in which I work. My personal discontent stems my inability to limit the multimodal layers applied to my work.

Deconstructing and reconstructing images within a screen-space is related to the idea of the memory trace, or bits of memories engrained somewhere in our brains that won't let go. These fragments unconsciously resurface to change the way we perceive our realities. This process exists throughout out all of my pieces, as evidenced by framing, projections and/or lens transformations. Images create new and trigger old bits of memories. They not only inform each other, but they blend to reshape the meaning applied to visual stimuli and the traces themselves.

My goal is to find some sort of bridge to connect us to a larger oceanic/feeling of connection as people, connecting collective memories that may not have been destroyed. These are palliative narratives – my work explores the surface measures used to treat our conditions, but not the underlying causes. What is being said is rarely what is meant. Sound works against image, and in that struggle forms a deeper meaning. Strata and its Discontents.

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