I've boiled down the three projects below to give you a radically simplified version of the way I work as an artist: after deep research of a subject, I use an innovative aesthetic strategy to answer a large and often conceptual question

You'll notice that these projects share many other qualities: topics that touch upon war; images of bodies in motion; and a visual style that favors post-minimal simplicity.

In all cases the projects were devised, produced, managed, and directed by me; although, as with any large endeavor akin to feature film production (which is the closest analogue to my artistic practice) these projects are born from collaboration.


Ärztliche Zimmergymnastik

SUBJECT:  The physical culture of post-Enlightenment Germany leading up Nazism.

AESTHETIC STRATEGY: Applying the tenants of high-modernist and minimalist sculpture (such as structuralism and the grid) to human bodies in performance.

CENTRAL QUESTION: Does the way we compose our own bodies change the way we think about the fitness of other peoples' bodies? 


The Allies

SUBJECT: Ideas about group behavior that grew out of WWI battle experiences.

AESTHETIC STRATEGY: Instructing performers to follow notational scores for movement (similar to the way musicians read a score for improvisation) instead of using choreography.

CENTRAL QUESTION: How does the way we disperse information among the members of a group change the way the group functions?  


Force Tracking

SUBJECT: The visual history of war in the Iraq, from ancient Assyria to the modern-day.

AESTHETIC STRATEGY: Arranging objects in a gallery so that a visitor's meaningful experience is comprised of moving around them—i.e., navigating interstitial space—rather than viewing the objects themselves.

CENTRAL QUESTION: How does the way we map our movements through physical space effect the way we tell stories, or even how we create history