I work at the intersection of media culture and human memory. My artwork depicts collapse: between producer and consumer, viewer and viewed and simulated and real. I appropriate material, bend rules of consent, restage events and invite viewers to alter my exhibited pieces. These acts and products reflect a shift in cultural production — where ownership dips into a zone of ambiguity and image and sound is widely recycled.

I use video, installation, prints, sculpture and performance to express desires for connection through a changing media landscape. In a recent project, I approached people at public events and asked them for a photograph. Instead, I took video. From these hundreds of clips, I compiled a 40-minute edit of strangers waiting in anticipation and smiling towards the unknown.

Lately, I have been using Second Life — an online world with simulated physical space — as a site for artistic inquiry. Here, I remediate iconic performances and realize “imaginary objects” as paper sculptures. Traditional and new media collide then recombine into a hybrid form. The notion of the original form sinks in wake of these acts. My work reveals how humans express emotions in this new topography.