In my expanded lens practice, I work across glass, film, photography and installation to deconstruct histories and systems of imagemaking. I draw on topics in feminist science and technology studies, media studies and art history for frameworks to re-approach the materiality and mechanisms of images and to create works that range from experimental nonfiction films to glass objects and light installations. I am interested to how perception can be turned back on itself — through strategies of duration, abstraction, optical illusion and dimly lit environments — to heighten the experience of the body and how this in turn can offer alternative possibilities for how our bodies encounter the world.


My current research centers sand as the composite material of glass, in order to contemplate the geologic materialities of imaging and communication technologies and to highlight human embeddedness in deep time. There is no photographic glass lens without ancient sand, itself is the result of hundreds of millions of years of geologic activity. Sand, stones and minerals enter my work through filmmaking at sand mines, tracing the production of glass, and though glass objects, such as cast glass rocks. Engaging the relationship of optical technologies to earth materials, I emphasize the fundamental interrelationships between imaging technologies, from lenses to camera sensors to fiber optic cables, which often serve to falsely separate humans from the more-than-human world and the earth as a living organism, of which we are but a part.

BIO