My artwork engages with “virtual realism” and the politics of visualization. Emerging image technologies like deepfakes, GANs, and visual biometrics are often discussed in terms of their ability to blur the line between truth and fiction, ushering in a new era of deception and forgery. While these anxieties are understandable, images—digital and analogue alike—have always been more illustrative than documentary. By drawing from case studies involving bodycam policies, surveillance advertising, military simulation software, and the use of AI in prisons, my practice explores how emerging image technologies both affect and reflect social values.

Recent filmworks and video essays examine the systems through which images circulate. For instance, the short film As far as the drone can see explores the phenomenon of war footage mistakenly sourced from video games, extending gendered biases and orientalist portrayals through national news channels. And A Camera Captures Images, A Court Sets Them Free examines the impact of viral footage depicting abuses of power on the widespread adoption of body cameras by police forces.

The ubiquity of doctored or spawned imagery requires us to think of imagery beyond the question of real or fake, and more along the lines of power and belief. In my practice, I underscore the constructedness of all images, not to contest their truthfulness, but to reveal the technological methods and social conditions through which meaning emerges.

Recent exhibitions and screenings include Wil Aballe Art Projects, The 8th FloorCatriona Jeffries, ENTRE, VRAL, Natalia Hug Galerie, Artists Space, and The Polygon Gallery. From 2018 to 2021 I co-edited the periodical QOQQOON. From 2021 to 2022 I participated in the Whitney Independent Study Program. Currently based in Vancouver, Canada. With thanks to Canada Council for the Arts and the BC Arts Council for their funding and support.

Contact via email, insta, youtube.