My practice revolves around creating participatory experiences for a general audience. These experiences involve sound, video, light (or darkness), immersive spaces, and opportunities for visitors to interact with each other, objects, custom software, and the space itself. These interactions cause visitors to question the impact that their actions have on a particular system. Systems theory plays a significant role in my research-based practice. I am particularly interested in systems of classification, epistemological systems, and systems of control. In my work, I put people inside of systems that are alive and moving, listening and watching, and reactive to the actions of the audience. By setting up such scenarios, people not only think about a system, but physically see, hear, and feel how it responds to their presence. I think this visceral and interactive nature of my work makes the presence of systems more poignant and recognizable when they appear in the world outside of my installations.
My work is assertively humanist, and I am more interested in posing questions and presenting paradoxes than I am in providing answers. My recent work questions the context of a collective belief systems (A New Word), what it means to hide censored information and alternative viewpoints in plain sight (Like a Splinter), and the virtues of pattern processing in the human brain and the tension between rewarding rationality vs. creativity (Superior Pattern Processing). I am interested in people–what people think, how they think it, and how their beliefs are contextualized and implemented. How does the body perform beliefs and enact thoughts, convictions, and emotions? Those who view my work often describe the experience as fun, dynamic, and playful. Play is a form of discovery for the audience that shows how they influence a system and how it influences them. Showing work to an audience is the most motivating factor in my practice, and observing how viewers interact with my work is a form of research.