My artwork engages with “virtual realism” and the politics of visualization. By drawing from case studies involving bodycam policies, surveillance advertising, military simulation software, and the use of AI in prisons, my practice explores how imaging technologies both affect and reflect social values. For instance, the short film As far as the drone can see examines 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 considers the impact of viral footage depicting abuses of power on the widespread adoption of body cameras by police forces.

The ubiquity of synthetic imagery requires us to think of images 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.