In 2001 I started working with video as a tool to document my live performance work. The use of video extended the duration and locational reach that was not otherwise possible with performance.
The utilitarian use of video to document my work quickly developed into an interest in the camera as an extension of the body. I began experimenting with a wide range of video techniques including green screen, multi-channel projections, large scale video installations, and experimental narrative formats. Influenced by expanded cinema’s aesthetic that functioned both as a critique of the culture industry and a new method of organizing viewers’ experience in relation to media, my work similarly pushed the boundaries of cinema.