The neighbourhood tire swing in a windstorm, a relative's white dishware on hand-embroidered cotton, and patterns of sunlight on the kitchen counter; I look slowly and with longing, and my videos are a reaction to this fixation. I dissect and chop the video frame then discreetly reassemble it, following pre-determined procedures to proceed infinitely on a loop. The mechanics are based on the tools of principles of rhythm (measure, tempo, duration, and polyrhythm), math (scale and ratios), and optics (focal length and aperture). The temporality of the video medium turns this act into the manipulation of time and space.

With these time-based manipulations, I also play with technical and formal aspects of photography, film, and video. This includes figure and ground, depth of field, point of view, and composition. Even when the scene before the lens is manufactured I work with the indexicality of camera-based works in the way that I seize singular instances. Each video preserves a moment from a world in flux. There are cracks in the illusion of the composite video all along, such as vertical breaks in a skyscape or the movement of a blade of grass exposing impossible symmetry. By gradually laying bare the mechanics of process throughout each work, detailed looking rewards the viewer by revealing the immateriality of video. I explore the balance between an image's construction and its representational ability while asking which is more real. The image surface can be disassembled but the subject remains depicted.

If my work tells viewers that they have been deceived, it also asks how much and if it matters.