BIO I was a programmer before I was a filmmaker and educator, a curious kid drawn to code and computers, growing up around the craft, artistry, and machinery of motion picture production, in a world 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: how images are made, how light, color, and composition form meaning, and how the visual language of painting and photography became the language of cinema. I spent the dot-com years designing and coding web applications, a means to an end that was obvious: 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 digital media communication at a small rural college in eastern Oregon, and I shoot mostly 16mm, which I love. I am exploring how emulsion, code, and interactivity might live inside a world of AI and generative images, and how film can be made unpredictable and alive through interactivity. 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. July 3, 2026 <<--