I believe the transitions and variations between motion-picture methods has significantly shaped our perception of capturing and interpreting media. Growing up, I had always been curious about the aesthetic subtleties of video, pausing to see each frame on the VCR. I knew it looked different than seeing a movie at the theater, but I couldn’t quite put my finger on why. It wasn’t until my father showed me his 1960s 8mm home movies from Medford did I understand the difference. It is not the nostalgic aspect of movies that interests me, but I see it more as a vehicle in bridging the past to now, and understanding that bridge. I began to edit pieces together when I studied at Longwood High School. My work exhibits and comments on the changes in motion-picture technology, as well as how we are influenced by these visual media conventions and the contexts that give rise to them.

I work primarily in digital video and animation, as well as 16mm motion-picture film capture and projection. I stretch each medium to its visual potential, contrasting them with one another and challenging the visual tropes associated with them. My animations are hand-drawn , as I feel more connected with each still-image frame. I create moving collages through these mixed kinetic mediums, similar to the wide array of footage that is often present in a vintage newsreel. My work searches for and identifies the visual cues that build narratives, and questions objective truth. What is objective truth in media if it is framed within a particular context, as well as through the technological limitations imposed on media capture and presentation? I strive to explore this in my work.