My creative scholarship investigates how bodies, technologies, and environments participate in making meaning together.
Media artist, educator, and creative technologist working across moving image, performance for camera, interactive systems, responsive sound, creative coding, physical computing, and digital accessibility. PhD Candidate in Human–Computer Interaction, Iowa State University.
Future Forest: Digital Echoes
An interactive environment of sensors, light, generative visuals, and responsive sound that answers movement, proximity, duration, and voice. Gallery 181, Iowa State University, 2025.
Creative scholarship
Questions I return to
- How does an interface shape what a participant notices or does?
- Where does authorship reside when human action is interpreted through computational systems?
- How might emerging media support embodied, accessible, and plural forms of participation?
Working across moving image, interactive systems, performance, creative coding, responsive sound, physical computing, and participatory installation, I create systems in which technology does not simply deliver content but structures relationships among people, media, and their surroundings.
My earlier work investigated feedback, embodiment, and co-authorship: what is translated or transformed when ephemeral human action passes through technological mediation, and the loops that emerge when people encounter the consequences of their own actions. My dissertation, Interaction as Facilitation: Translating Museum Interpretive Practice into Interactive System Design, asks more specifically how interaction can facilitate rather than merely respond.
Accessibility runs through all of it. It is not a requirement applied after a creative system is complete, but a generative design condition that challenges assumptions about whose bodies, senses, knowledge, and behaviors an interface expects.
Trajectory
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2017
Manibus
Movement becomes material. Authorship is distributed across performer, algorithm, machine, and situation.
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2020
Performance for camera
When live performance became untenable, I learned film through solo works made with Jonathan VanDyke at Pig Iron School.
Go to moving image -
2021
Sapient_2.021
Film becomes a research method alongside the embodied and interactive systems.
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2023
Situational Identities (MFA)
The participant steps inside the computational feedback loop: an artwork as a designed set of conditions.
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2025–26
Future Forest: Digital Echoes
Museum facilitation practices translated into computational design conditions.
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Next
Embodied emerging media
Real-time and virtual production, co-creative authorship with generative AI, and accessible multisensory media systems.
Selected creative research & media works
Moving image
Film entered my practice in 2020, when live performance became untenable. I learned it by translating questions already present in my performance and interactive work into the spatial and temporal language of the camera, and it stayed as a research method: framing, editing, sequencing, repetition, and sound as compositional tools.
Studies & experiments
Shorter studies in real-time media, depth sensing, and embodied interaction.