Included in 2017 Film-makers Coop Benefit

Film-makers Coop Benefit Auction

Happy to be a part of the Film-makers Coop Benefit Auction, invited by filmmaker Mary Billyou. Thanks to Mary for inviting me! I’m a fan of the Coop.

My animation at ISEA Manizales, Colombia 2017

The Chthulu and the Final Girl

Pleased that my animation, The Chthulu and the Final Girl, was part of the media exhibition at ISEA 2017 in Manizales, Colombia in June 2017. Here it is playing in entry to media area; it also screened in small theater.

Work included in LMCC spring auction

Disco Volante 

Sent this print, Disco Volante (digital 3D render), to the Lower Manhattan Cultural Council this week to be a part of their spring benefit auction. Honored to be included. Disco Volante was the stage name of the yacht in the James Bond film Thunderball; the real life boat was once owned by Trump and was called the Trump Princess; it is currently owned by Al-Waleed bin Talal, a member of the Saudi royal family. The print was beautifully framed by Fine Art Framing in Tempe, Arizona.

Curatorial Project: Electric Breath at Emerge 2017

Curatorial Project: Electric Breath at Emerge 2017

I am curating a screening of experimental videos and animations for the Emerge Festival 2017 at ASU Feb. 25 (with head-curator Dehlia Hannah). Electric Breath is a screening that traces Frankensteinian themes in recent experimental video and animation. From monstrous avatars struggling to thrive in, or escape from, virtual worlds to animal-headed humans narrating a drowned city, the screening presents a forecast by turns satirical, dreamy and dystopian. Artists include Katie Torn, Carla Gannis, Marina Zurkow, Eva Davidova, and Hilary Harp + Suzie Silver.

The Chthulu and the Final Girl on view at Scottsdale Museum of Contemporary Art

Push Comes to Shove: Women and Power

My animation The Chthulu and the Final Girl is on view as part of Push Comes to Shove: Women and Power exhibition at Scottsdale Museum of Contemporary Art until Jan. 8, 2017. The show was curated by ASU Professor Muriel Magenta and SMOCA Director and Head Curator Sara Cochran.

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