AN/ARCHAEOLOGY or A Solvent History (in progress, 2020-2021) 
Video Installation, Sculptures, Images


The impermanence of a historical identity and present intersects with the boundaries of a spectral understanding–history and presence is an intangible vapor that shifts in direct relationship to media apparatuses. Our perceptions of time are thus signified in accordance to our engagement with authorship, apparatus and network conveyance, that is, the telemetric receivers. 


A Solvent History thus deconstructs the historical lens in accordance to states of matter through Procedural Simulation, Neural Network Imaging and Archival Research :























Coming Soon

Still Life Arrangement, 2020
Photogrammetry, 8″ x 16″
Collaboration with Jamie Kyle

Integrated into a series of works now acknowledged as The Electric Sublime . Hundreds or thousands of images are extracted from the environment, sorted through computational photography and rendered out through 3D graphics software. I collaborated with artist Jamie Kyle to construct the final image for printing in an upcoming issue for the Halophyte Collective.


surfing, 2019
HD Video
Single Channel Loop
30:00 min
6:30 min excerpt

surfing is a reconstruction of a one hour internet streaming performance seeking out the secrets of immortality using only online search algorithms. The original recording is digitally mapped to a series of 3D models that hover and morph over stock footage of an ocean. surfing acts as a humorous homage to both the original installation, The Fountain of Youth (2016), and in reference to the cathartic process of late nights drifting from website to website in search of content.

a farewell to images, 2019
6 channel installation view at Utah Museum of Contemporary Art

a farewell to images is the concluding chapter in a trilogy of works I wrote and produced (including NO LAND ISLAND, 2016 and |human|, 2017) utilizing digital media as an apparatus to investigate language, post-internet identity and existential inquiry. The three chapters are presented within the space to reveal my four year evolution of craft, philosophy and identity while working through this series.

a farewell to images, 2019
3 channel projection
synchronous loop
16:00 min

a farewell to images is a visual poem invoking the evolution of images from antiquity to contemporary in connection to Andre Malraux’s Psychology of Art and his musée imaginaire by analyzing the cognitive relationship between images, artifacts and collections. I explore these notions of a mnemonic collection in relationship to personal identity, loss and trauma as society gravitates towards social engineering piloted by deep fakes, artificial intelligence and through the simplification of media-generating technology.

a farewell to images is an elegy to stillness, to silence and to solitude. As real-time video feeds abstract and accelerate ideologies and the documents in our lives we must remember:

we become what we see 

|human|, 2017
HD Video
two channel synchronous loop
11:15 min

|human| continues my examination of artificial intelligence & existential inquiry through two synchronized CinemaScope formatted projections. The piece, scripted as a dialogue between two synthetic entities, is a recollection of highly diametric origins & perspectives about the world around us. Corporeal landscapes are ushered up from virtual environments, 3D models of humans fuse with art historical images & the room, alive with sound, hums in unison to the two entities.

HD Video
single channel loop
10:41 min

Text extract from website:
How is identity refracted through our technological selves and how does contemporary media we engage with affect our perceptions of self hood?

By tapping into the constructs of “island as a ghost response” the phenomenological associations imposed on islands are simultaneously romanticized utopias of collectivism and harbingers of dystopian individualist paranoia.

(see: Lost, Huxley’s The Island, Vonnegut’s Cat’s Cradle, Golding’s Lord of the Flies, et al.)

Islands are associated with secrets and definitive perimeters of exploration and, to shrink these brush strokes, our engagement with computer technologies are equally isolated and connected to a vast expanse of information and virtual space. Our associations of time within these virtual portals creates a microcosmic system of solitude that mirrors properties of islands and often disassociates our ability to discover answers, but instead guides us on a search for endless secrets.

Slide 1: Smelter, 2019, photogrammetric photo print on metal, 16.25″ x 12.25″
Slide 2: Palace, 2019, photogrammetric photo print on metal, 16.25″ x 12.25″
Integrated into a series of works I ow acknowledge as The Electric Sublime . Hundreds or thousands of images are extracted from the environment, sorted through computational photography and rendered out through 3D graphics software. Realtime data, in the instance of the off gassing of toxic materials in Smelter , is collected over time and condensed into a singular collapsed representational timeline.
We have observed, that a species of greatness arises from the artificial infinite; and that this infinite consists in an uniform succession of great parts: we observed, too, that the same uniform succession had a like power in sounds. But because the effects of many things are clearer in one of the senses than in another, and that all the senses bear analogy to and illustrate one another, I shall begin with this power in sounds, as the cause of the sublimity from succession is rather more obvious in the sense of hearing. And I shall here, once for all, observe, that an investigation of the natural and mechanical causes of our passions, besides the curiosity of the subject, gives, if they are discovered, a double strength and lustre to any rules we deliver on such matters. When the ear receives any simple sound, it is struck by a single pulse of the air, which makes the eardrum and the other membranous parts vibrate according to the nature and species of the stroke. If the stroke be strong, the organ of hearing suffers a considerable degree of tension. If the stroke be repeated pretty soon after, the repetition causes an expectation of another stroke. And it must be observed, that expectation itself causes a tension. This is apparent in many animals, who, when they prepare for hearing any sound, rouse themselves, and prick up their ears: so that here the effect of the sounds is considerably augmented by a new auxiliary, the expectation. But though, after a number of strokes, we expect still more, not being able to ascertain the exact time of their arrival, when the arrive, they produce a sort of surprise, which increases this tension yet further. For I have observed, that when at any time I have waited very earnestly for some sound, that returned at intervals, (as the successive firing of cannon,) though I fully expected the return of the sound, when it came it always made me start a little; the ear-drum suffered a convulsion, and the whole body consented with it. The tension of the part thus increasing at every blow, by the united forces of the stroke itself, the expectation, and the surprise, it is worked up to such a pitch as to be capable of the sublime; it is brought just to the verge of pain. Even when the cause has ceased, the organs of hearing being often successively struck in a similar manner, continue to vibrate in that manner for some time longer; this is an additional help to the greatness of the effect.
Edmund Burke, Artificial Infinite, On the Sublime and Beautiful

searching…, 2018
HD Video
single channel loop
8:00 min

Recorded performance of my trek along a dried out river bed due to drought. As I walk I am recording the movements of my shadow as it crosses over rock, stone and pebble. A camera recording a camera. An eye looking at an eye.

The sounds activate the memory of water, the fluidity, the channels of H2O that once flooded these banks. The echoes of water are further replicated in the movements of the figures walking within the figure. Our shadows have imperceptible depth.

Portraits of Self Destruction (a precursor to forgetting), 2018
HD Video
single channel loop on portrait orientation TV
13:45 min

The video is played back on a television turned on its side. The piece is text heavy, using language that is both cryptic and critical. The piece was created to analyze the ongoing problems of media, representation and language.

PERMADEATH, 2017-Present
Collaborative Installation
Slide 1: Installation View
Slide 2: Installation View
Slide 3: Installation View of artist Chris Kelly’s MUST HAVE BEEN ONE HELL OF A STRONG ROPE



I investigate virtual and real-life communities under the guise of a game exploring the social capital and exchanges of power that exist within these communities. 30 artists were invited to create a society, along with an artifact that represents it, to examine the artist’s limitations within such an expansive question.

PERMADEATH is a game. The game is inclusive and membership is free. PERMADEATH exists online and offline. The game has no beginning or end. Our offline/online one-on-one discussions become the medium of the game. The game itself is an ecosystem. This exhibition is a result of a larger game, one of social capital and exchange of power. This exhibition portrays artifacts from round one of this game.

List of featured artists:
Cara Krebs
Celine Downen
Chris Kelly
Danny Wang
David Sadler
Eli Downen
Elizabeth Barbano
Etsuko Kato
Harry Cloud
Joseph Christensen
Kayla Sudweeks
Kelly O’Neill
Kevin Arthofer
Marnae Rathke
Melinda Frewin

Natalie Oliver
Nic Courdy
Oliver Downen
Patrick Charles
Paul Roessler
Robin Clark
Ron Brown
Scott Beadles
Simon Blundell
Stephanie Clark
Susannah Israel
Tabitha Nikolai
Tanner K Williams
Tanja London
Zoë O’Brien

PERMADEATH, Installation Video Documentation, Utah Museum of Contemporary Art, 2018

PERMADEATH, Screenshot of the online community site I built to communicate with the participants. Website:

Endpoint, 2018
Digital print on metal
16″ x 12″

Words are Water, 2017
Collaborative Installation

Audiovisuals and Installation: Jörmungandr [we devour we], HD Video, Single Channel Projection, 8:00 min, drinking water imported from a glacier, water cooler
by Tim Grant & Justin Watson

Plasticized History Water Cooler
by David Sadler & Kayla Sudweeks

WORDS ARE WATER infers the mutability of language and how it shifts according to time, context and memory. WORDS ARE WATER is the title of the overarching installation created by Computer Engineer Tim Grant & Artist Justin Watson, with two key components that reinterpret this title. Jörmungandr [we devour we], is a multimedia installation using drinking water and audio sourced from arctic glaciers. Jörmungandr is a mythological Nordic ouroborous, or world devourer, and by inviting the viewer to partake in drinking this water, they, too, are confronted with a choice to drink this exotic water at the cost of engaging in a mutually destructive act. This dynamic between the viewer and what we consume directs us to the complexities of existing within a system where the limits of our engagement with the world around us is much more vast and geopolitically oriented than we may realize. The viewer is reminded of this dynamic with a lengthy circuit of words lining the top of the water bottle: “water is life is water is life is water is…”

The audiovisuals are an interaction between Tim Grant’s audio and Justin Watson’s visuals that fluidly shift from existential meditations and political subtexts. The video, outside of the title, lacks any specific voice over or text and relies on purely sonic and visual experiences connected to water to form a narrative. After the finalization of the audiovisual components, Justin and Tim to challenged their notions of interpretation and conceptualization of the topic by inviting two painters to translate their work onto the surface of the water cooler housing the arctic glacier drinking water. The painters, David Sadler and Kayla Sudweeks, worked collaboratively to interpret and reconsider Justin and Tim’s original idea through their water cooler painting, Plasticized History, reinforcing the shifting nature of ideas, words and perception.

Jörmungandr [we devour we], HD Video, Single Channel Projection, 8:00 min

…the future is the past is the future is the past…, 2017
Four Channel Installation, Laser Cut Signs, Modified Gaming Chairs
Slides 1-3:…the future is the past is the future is the past…, Finch Lane Gallery installation view, 2017

 …the future is the past is the future is the past is…  examines the mechanics of nostalgia and how the past has been weaponized into dystopic futures through toxic masculinity, banal political slogans and a call to return to a history that never happened. The exhibition includes a large-scale video projection, PARALLAX (2016), with modified surround sound gaming chairs, a new three channel TV installation, CERBERUS (2017), and a laser cut sign, 1844BETAMAN (2017), that acts as a working phone number and website providing insight into the history of toxic masculinity and multiple perspectives on the shapeshifting identity of contemporary man. 

parallax, 2016
HD Video, Single Channel Loop, 12:31 min, 2016

Parallax is an often-used technological term to imply an object + distance relationship through the visual layering of elements to emulate a sense of spatial movement. I took this term and applied it to an extract of philosophical paradoxes: object/body orientations in relationship to the universal and how these self-identified spatial relationships appear to slow the further we distance ourselves from them. Bodies, for example, when decimated with the use of video games, become nonphysical abstractions.

text for parallax:

Last night my ____ accidentally shot ____ in the face with a .22 caliber rifle.

The bullet remains forever lodged in ____ skull.

We are not burying ____, but we carry ____ in our mind’s eye.

A formless structure, netted between our neurons.

Afterall, isn’t the scarification of the mind equivalent to the construction of a haunted house.

Our age is correlated to the ghost’s we haul around within us.

I can remember ____ when I was a child, putting on ____ prosthetic leg.

The awe of a new leg.

A body extension.

A plastic appendage grafted with gravity.

I gazed from my _____ kitchen at ___ hopping around my ____ backyard on one leg.

___ trembled two beats before stopping and ____ leaned over.

____peeled up a pant leg, revealing a luminous ball of smooth flesh, rounded off by the blade of a skilled surgeon.

The skin of that appendage glows, expands to fill a room.

The room becomes a house.

A house becomes a city.

____ is here, the corpuscles of ___ leg bleeding from one mnemonic recall to the next.

The appendage becomes an artifact.

The artifact becomes an appendage.

At ___ house.

In ____ yard, where ____ is carrying ____ lighting kits.

____ played in a band a long time ago.

_____ says ____ was talented.

I don’t know.

I was too young and now I’m too old to believe in the validity of my memories.

The gaps in time from then and now experience a broad expansion in their breadth.

Was it yesterday or was it yesteryear?

I can’t differentiate the real from the electric.

I can’t remember.

1-844-BETAMAN, 2017
Toll free number (still operational), laser cut signs

HD Video
Center channel of three channel loop
7:52 min
Includes screen capture from this parallax site.

CERBERUS (Test Strips ver 1: DNA), 2017
HD Video
Left and right channels (mirrored) of three channel loop
7:23 min

Two channels of 1980s era vaporwave music and colorful banality is projected with a central channel depicting issues of recurrence and perceptions of war as translated through internet media. The piece actually plays twice through, with the second playthrough distorting the original and creating an infinity mirror effect. The audio for Test Strips ver 1: DNA is extracted from a remix of Diana Ross’s It’s Your Move by vaporwave artist Macintosh Plus. The lyrics were rearranged to recall the ghosts of capitalism to establish a paradoxical connection to the center channel.

The Fountain of Youth, 2017
Eight Channel Installation, water purchased from the Fountain of Youth State Park
Project Statement
Text extracted from documentation video:
In 1521, Juan Ponce de León died in Havana, Cuba from a poison-tipped arrow lodged in his thigh following a skirmish by the Calusa, a once Florida-native indigenous tribe. Historians argue about the details of his travels, including a postcolonial myth connecting de León to the fabled search for the Fountain of Youth as he traveled through La Florida, a tale of astonishment and obsession striped with madness. An artificial wonder rolled out from under the centuries in the form of the Florida Fountain of Youth Archaeological Park, resurrecting a colonial specter and concreting truth in what amounts to a centuries old lie. Peering at LED screens and shuffling through websites devoted to various arguments about this myth posthumously spread after de León’s death led me to question the teleportation and transmission of similar myths, belief systems and concepts relating to mortality through contemporary technology. How does a search engine discover immortality or death? What truths do we choose to believe when our reliance on online content blooms open like so many flowers ready for picking? What happens when we engorge ourselves on the ideas of others?
Slides 1-2: Installation View, Bountiful Davis Art Center
Site Specific Project

HD Video
single channel loop
4:06 min

Two Entities Sharing Ideologies, 2016-Present
HD Video
two channel random loop
indefinite run time

27 (and growing) clips of representatives of major political ideologies, including philosophers who attempt to deconstruct ideologies. The size of the TVs establishes a physical presence while still maintaining viewer omniscience over the ‘talking heads.’ The viewer is confronted with the automation of their own ideologies.

Looking for a Space, 2016
HD Video
single channel loop
7:40 min

The moving images are taken from a series of videos with the same name extracted from the University of Utah Media Archives as an experiment with historical documentation of a university environment to talk about the larger processes of this structure. A voiceover of Timothy O’Leary, also sourced from the same time these videos were created, provides a guided “meditation” on our practice of seeing.

The video offers a view of the paradoxical nature of education, social processing and conditioning through soundbites of both discontent and accepting students of this pedagogy, but also uses these processes to condition the viewer to liken to its own philosophy in an act of “self-consciousness” conditioning (in reference to artificial intelligence).

#8A0707: A Corpse Experience, 2016
HD Video
single channel loop
5:49 min

I purchased a CD online from this famous hypnotist (acquired permissions) and integrated this hypnosis with a video of a rotting corpse found on LiveLeaks mapped to an animated fractal., 2016-Present
Installation view at MIRI Gallery
Digital stereoscopic prints on paper, HD Video, single channel loop, laser cut acrylic, digital prints on paper
Text extracted from website:
When you enter the monument, you discover the bowery. The bowery was the first official site of worship established by members of the LDS faith in the state of Utah prior to the construction of the LDS temple located downtown. Strangely, this sacred space, once a site of devotion, prayers and theological practice has been translated into a peculiar conference/picnic/event area. The kind you attend when gathering for family reunions or hazy midsummer outdoor conferences. This is the Place Monument has since demolished bowery and one of the only methods of viewing this structure is through these photogrammetric documents.
Our History Was Never Beautiful, 2016-Present
30″ x 30″
45 Digital prints on canvas

A body of work amalgamating and digitally rewriting versions of U.S. presidents, landscape paintings and other media reflecting the supposed ‘American Values’ including but not limited to topics of: manifest destiny, patriotism, the Invisible Hand and other destructive ideologies. The subtext indicates the dissociation between our optical representations of the past, the fragmentation of the present and the erasure of embedded contexts of time and the dissolution of U.S. trust in the American Dream, a manufactured vision of ideals that conferred a virtual experience of success and material obtainment at the cost of others.

Travel Channel Tourist Trap Simulator [CH1 Utah], 2016
HD Video Projection
single channel loop
4:34 min

proxy, 2016
HD Video Projection, custom scent from local conifer species, diffuser
single channel loop
5:47 min

I recorded this project entirely using CRYengine. The screen castings of these interface performances was the result of a hardware failure while conducting the recording. The recording, originally set to 4K, couldn’t keep up with the drive write speed and resulted in a fractured, pixellated reproduction that ended up more interesting than the original. The overt concept initially focused on the recreation of the deteriorating process of neuron synapses.

I questioned:

How does the physical self interact with the past self?

What do we do when our memories are more electric concoctions than realtime experiences?

Metaphysical Half-Plank, 2016
Digital print on metal, mirror
21″ x 60″
laser etched acrylic
5.25″ x 15″