My approach to filmmaking is varied, ranging from photographic animation, to collage and essay films, to scripted fictional narratives. Whatever the shape, I use the photographic lens because of its direct relationship with reality, which, at first lulling the viewer with a sense of familiarity, may then collapse that complacency with the presence of a new logic. For me these are precious moments that allow for a sensory opening and an altered state to occur in a viewer.

My films are cyclical, yet ask to be watched linearly. For this reason, I make work for theatrical screenings, rather than gallery spaces. I feel that despite the associative nature of the human mind, we still make sense of the world with stories, even when those stories are abstract.

Through filmmaking, I try to distill moments of strangeness and ambiguity that occur when one looks backwards to past traditions to make sense of the current self. This liminal intersection of modern and archaic is where imagery becomes the most potent and appropriate for examination, and becomes a point of access to the surreal contradictions of living in a global world where past, present, and myth, share the space of now.