The first 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. 

Section I of “The Genocide House” Trailer paints the disturbing portrait of white colonial expansion across North America and the subsequent extermination of the continent’s indigenous people from 1675 to the present. 

Pedestrian is an archivization of North Avenue from Claremont to Damen, from September 2021 - March 2022. This is a first-person visual documentation of one route through Chicago. This is an experimental film composed of multiple videos and audio that come together to make up one timeline showing showing multiple perspectives and experiences through the seasons.

Inbetweenness alludes to the ambiguities of deterritorialization and of hybrid cultural identity. It navigates a destabilizing state of diasporic existence by reimagining and experiencing childhood home through digital mapping tools. Searching for traces of the past within satellite imagery, aerial photography, and 360 photography, Director Mona Kasra yearns for a sense of belonging to her homeland.

In 'MCGUNNER05' (2022), footage of Saddam Hussein’s US occupied palace is documented by McGunner05, a US soldier.

A documentary video, played side by side on screen, creates a gutter of "doubling" or "afblau". Through the facade of paired videos, an outward appearance emerges that reveals a less pleasant reality.

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"While in letting things say themselves, we rest in them, while we let things say themselves….and while yet even in the establishing of facts we meet with a doubling which to some extent arises from the things themselves, in the process of intending we go from ourselves toward things. We do not thereby have a dead image of something, but we are dealing, with a living movement toward what is intended (see PG 107; PI-455-6; PG 98; PG109)."

-Brand, Gerd, The Essential Wittgenstein (Basic Books, Inc.), 24.

Heavy Focus weaves together ideas of tactility, visibility and the body, and the material conditions of image-making. In this single-channel video, disembodied hands carefully collage and layer physical photographic prints, while other images are manipulated within a digital workspace. Drawing from a wide variety of idiosyncratic sources including architectural theory, vintage beauty tutorials, phenomenology, archaeological studies of Venus figurines, stock images and the artist’s own photographic archives, Heavy Focus explores seeing as a sensory, tactile act that plays out both tenderly and forcefully upon the body.

I take control of my sublime experience from outside abstract control into my own hands. The outer control is religion, state, and government. for centuries external forces controlled what is forbidden and what was allowed, thus controlling my consciousness – what I think, enjoy, and what makes me feel awe or spiritually elevated. To develop into the state of post-human, I need to shed the old restrictive skin of current thinking. The object I am trying to control, the lost ship of my mind is in its own entity.

The audio used in this work comes from an archive of recordings that were conducted by a computer program. This program listened to talk radio broadcasts across the United States from 2019-2022 and recorded what happened before, during, and after moments of silence that occurred on these broadcasts. This software generated an archive of recordings that captured the voices and ideologies of broadcasters commentating on events that happened throughout the COVID-19 pandemic.

A scrolling maze on shifting ground.

Conceived as a performable webpage, Frustum Culling is a prose poem of text and sound, animation and HTML. It is a guided tour through a vessel populated by ghoulish characters, each surveilling and seeking: others, objects, assets. Reflecting upon architecture, labour, and gaming vernacular, the work extrapolates the present, suggesting a coming absurd predicament.

You never get a second chance to make a first impression, so make it a good one. Effective headshots leave lasting impressions.

A drastic haircut is an aesthetic attempt, a nearly non-committal practice, to be okay with big changes. This film is a documentation of processing the internal and external changes prompted by the COVID-19 pandemic.

“White Noise” is an abstraction of the social and political concerns currently reverberating throughout the United States. A video that travels through an anonymous American landscape is juxtaposed with the increasingly chaotic sounds of newscasts and punditry. The banal time and space of everyday life take on an ominous atmosphere as the radio gives voice to a stream of issues pulling at our social fabric, while the image of the landscape fragments and falls out of sync with itself, transforming what was once familiar into a threatening experience.