BIO I was a coder before I was a filmmaker, media artist and educator, a curious kid drawn to images, sound and computers, growing up around the craft, artistry, and machinery of motion picture production, in an atmosphere rich with music and art. It all pulled at me at once, and I wanted to wield a camera, make music, write programs, design graphics, and edit films. I never put one interest over the other; they collapsed into each other, and their fusion became the foundation of my work and career. At the University of Georgia, I studied art history. I wanted to go deeper: to understand how images are made, how light, color, and composition form meaning, and how centuries of visual language from painting and photography evolved into the language of cinema. I spent the dot-com years designing and coding web applications, a means to an end that was obvious to me: analog and digital folding together, and film becoming a new medium that I could reach into and shape. I flowed from web development into graduate school and three years of exploring new permutations of cinematic imagery and storytelling, working among artists and educators whose talent and experience reshaped how I see, think, and feel about filmmaking. Today I teach media arts at a small rural college in eastern Oregon, and I shoot mostly 16mm, still drawn to its tactile, material feel that acts as a counterweight to the inescapable hyperreal sheen that imposes itself on the digital image. I am exploring how emulsion, code, and interactivity might live within artificial landscapes and generative media, and how film can be made unpredictable and alive through responsive systems. STATEMENT In my work, I explore along the seams of analog and digital remnants, surfacing the material and bending time, letting form gather, then dissolve, grafting lens, light, emulsion, sound, interactivity, and code; blurring narrative structure, shuffling beginning, middle, and end; playing the browser as canvas, screen, and visual instrument; tilting the power between subject, audience, and artist; and treating the film frame as a structure of confinement and control. My process is an over-planned improvisation. Live-action and cameraless images, layered with exaggerated effects, compression artifacts, textural manipulations, and forced temporality, surface the materiality of both digital and analog media. Editing is an orchestration, sometimes finding unity, and at other times allowing disjunction to guide the final form. I work footage I shoot, make, find, or assemble; jump-cutting, remapping time, recomposing frames, interpolating, and choreographing motion and gesture. Then I hand the temporal and interactive form over to the viewer to create unpredictability, randomization, and non-linearity. Triggering image and sound, the viewer engages actively, or watches when the work is performed, stirring associations and reverberations of their own. My hope is that the work becomes more of an offering than a possession. It's a score, not a recording, waiting to be played and never played the same way twice. What it finally means is settled somewhere I don't get to see or experience: in the attention of whoever is there, in a shape I couldn't have made alone. October 3, 2026 <<--