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 on the faculty in 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.
A new hologram piece I've made called Revivification is part of the St. John's Bible ICON ANIMORIUM exhibit at Loyola Marymount University opening on 3/28. The score of this work is by Jeremy Hoevenaar.
The Sleeping Negro (I edited) plays on Friday, Jan 21st at Gateway Film Center in Columbus, Ohio, at the Little Theater in Rochester, New York. It plays the Denton Black Film Festival beginning on Jan 27th, Pittsburgh Cultural Trust from Feb 11th-18th, Vancouver International Film Festival, Manchester Film Festival in the UK in March, SF Indie Fest in early Feb., at the Roxie Theater in SF, at the Athens International Film and Video festival, Ashland Independent Film Festival , D'A Film Festival Barcelona, and Seattle's Northwest Film Forum in April.
I've posted a new short film I made called Helping Amy on the films/videos page, and on vimeo. The film was shot in mid-2018, but pandemic life got in the way. I finished it, but then re-cut and finished it again. I hope you like it.
Films I've Made
Revivification, Mutoscope Hologram Installation
You Have Just Been Murdered, Installation (AR and analog)(in-progress)
Helping Amy, Narrative Short
MemoryDistrust, Holographic short stories
The Story of Everything, NarrativeShort, 16 min.
Yellow Persona, 3-channel Video Installation, 13 min.
Reunion, Narrative Short, 18 min.
The Popcorn Kid, Documentary 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 Heart, Stop Motion, 4:30 min.
Where the Road Turns Dark, Stop Motion Animation. 5 min.
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.