REVERSAL combines images and sounds from movies released or broadcast in 1973, the year the Supreme Court decided Roe v Wade. In the strange new reality ushered in by the Dobbs decision, the slogan "We won't go back" is recalled with bitter irony. This collage piece evokes the spectre of regression and repression that has followed the Court's decision.

Amidst a world of constraints and challenges, a woman's unwavering pursuit of liberation becomes a beacon of resilience and hope.

To apply for an accessible or Crip parking placard, a doctor within the state must approve the application. As part of the application, there are six medical conditions which qualify a person for a placard. These conditions include: (1) cannot walk two hundred feet without stopping to rest; (2) cannot walk without the use of an assistance device; (3) is restricted by lung disease; (4) uses portable oxygen; (5) has a cardiac condition; (6) is severely limited in their ability to walk due to an arthritic, neurological, or orthopedic conditions. Many people with disabilities are included in these categories, and many are not. This film is a record of my introduction to healthcare in the state of Utah. My processing of the appointment and consequential aftermath as a video object serves as a reclamation and assertion for understanding disability and the physical world otherwise.

A short Sci-Fi. A Meteorite hits earth and chaos is upon us.

We're all just admins of thought! Amid a small-town war, a mediocre call center contractor gets a suitcase for her fatuous small talk.

This rough-edged sketch mixing performance art living and film is a study of the phone call, American doofiness, and blank minds under the reign of the corporate call script. Everyone is impotent in the institutional setting.

A letterbox searches for the meaning of life.

An experimental cinepoem, Eve’s Ribs Lilith’s Lungs viscerally offers a woman’s journey from traumatized entrapment in the patriarchal ribcage of Eve’s assigned image, to release, rebirth and rediscovery of her own image in the joy of Lilith’s lungs.

Fumble (2024) is a series of lighthearted performative vignettes that explore the duality of immigrant and queer life—the longing to return to the familiar geographic, cultural, and bodily coordinates of one’s past, alongside an equally compelling desire to assimilate into a new culture and identity. Through a collection of absurd scenes depicting both the attempts and failures to fit in, the film illustrates the felt incongruities of this experience in a hybrid form.

A diary piece reflecting on the time, community, love, and anxiety...oh and also Dominican food.

A humorous look into one of the largest adult sex boutique stores in the Midwest.

In the early 1900’s, Soviet filmmaker Lev Kuleshov made a short film showing an expressionless man intercut with three other shots: a bowl of soup, a child in a coffin and a woman laid out on a sofa. When an audience was shown the film, they believed the expression on the man’s face was different each time, looking hungry, grief-stricken and lustful. It was the exact same shot of the man every time. I created a film that uses the same simple trick to expose our own perceptions about race, class and gender in these tumultuous times.

"Young Ali: those were the days" offers a rare glimpse into first-generation Iranian American family life. The film is an intimate portrait of a middle-aged Persian man who, after losing his job and divorcing his wife during Covid, moves back home to confront his emotional afflictions and shed his past. There is an internal expectation that Ali's set for himself that he's failed to meet and that's where our story begins - with Ali confronting this and reinventing himself.

Laura La France and Lizzie Derksen have collaborated on several small projects together, most often surrounding one of Lizzie's poems and/or utilizing Laura's skill with Super 8 film. They are currently working on a CBC Gem documentary about women's friendship, directed by Lizzie.

Low Rent spans the year I spent secretly living in a hut I built on my allotment in Edinburgh back in 2005. It follows the full cycle of the seasons and captures moments such as early dawn from the hut doorway, a fox running with a scavenged egg in her mouth and trees bending with fruit. In its course I explore questions that continue to preoccupy me about land ownership in Scotland, class, poverty, colonialism and how the violence of capitalism and the joy of life meet in our bodies.

"Interdeviation" visualizes a world where humans, technology, and nature become inextricably merged. The video blends live action footage taken from the environments surrounding the artist’s home as well as images and footage of the artist herself. This footage was used as reference within generative AI to cultivate new and imagined landscapes as well as speculative human-plant hybrid organisms.

There is an identification with the greater forces of life and death in not just a suspension of the self or the self as a singularity of interpersonal forces meeting with the absolute. When I deconstruct my body, obscure my personage, and simultaneously sacrifice myself, I multiply into a fragmented composite. This process is not rooted in spiritualist escapism. Rather, "I" undergo a symbolic detachment or displacement from the realms of nature, allowing me to decontextualize myself and attain a renewed sense of being.

At that unexpected hour, between sleep and wakefulness, the participants arrive for their first rendezvous. The inaugural intervention is the enactment of the logic behind the artistic experimentation device. The body of the performer that carries the guideline is written. Locks of hair with their poetic mathema are cut. Converted into offerings, they are handed in a box to each artist, while an unintelligible phrase, but not any phrase, is whispered in their ears.

Offensive cybersecurity tools are transformed into audio-visual instruments. Port scans, vulnerability exploits, wifi packet sniffing, deauth attacks, ping scans, and more are used to generate network activity that is converted directly into raw digital sound and raw terminal text in real-time.

The second of five trailers for Robert Kloss’s novel, “The Genocide House” is a viewing portal that puts on display the grim history of what dishonest people call civilization. Voices of the damned speak passages from the book over a blend of cinematic stock and archival materials optically cohered into a dusty black & white stew. 

This trailer brings together the previous five sections into a single short film.