This is the vision from the “chinampas", the hectic life in the floating gardens, an ancestral system of audiovisual planting.

​Lights and noise stain the dark night.

​A conversation through time between a woman and her great grandmother. Piibe Kolka uses PXL2000 toy camera to record pixelated visuals and various messages on audio cassettes in an attempt to establish a time travelling communication. The film probes an epigenetic hypothesis that individual life experiences could influence biological inheritance and gene expressions. The result is a science fictional play between generations, addressing life histories, inherited doubt and the search for possible adventures.

​Dream of Splendor synthesizes footage from the 1962 Hong Kong film The Magnificent Concubine with footage of a souvenir store located in Chicago Chinatown to create a mysterious and at times melancholy exploration of the Chinatown chronotope.

​It evokes the absence of limits and hierarchies, showing how a new collectivity emerges from otherness. It is an intersectional film that proposes unity based on new images, thanks to the resolved coexistence between four videos previously independent.

​FORMations reflects the natural ecology of food and flora in the region. Sampling the earth, indigenous and collected plant species, and leftover foods, FORMations examines the constant evolution within an ever-shifting cultural and geographical landscape; the petri-dish environment makes visible the invisible by providing a medium of growth for the microbial and bacterial communities that naturally exist within food and our overall surroundings. This enclosed environment gives metaphorical and visual connections to the often ignored or erased narratives and the layered complexities of hybrid existences that many newcomer (human and nonhuman species) experience in their respective, evolving habitats. The work gives a visual nod to the artist’s cultural heritage in referencing geometric forms found in South West Asia and North African architecture and Islamic art, while acknowledging the larger landscapes, foods, resources, and diverse ecosystems that make-up Southwest Ontario & region.

Commissioned by Indiana University Libraries Moving Image Archive as part of Century of 16mm. A camera roll and investigation into the landscape of West Chicago, IL’s former Rare Earth’s Facility, Kress Creek and Reed-Keppler Park. The former Lindsay Light and Chemical Company owned production plant polluted and distributed radioactive mill tailings (thorium byproduct) throughout the community including dumping in a landfill where the Reed-Keppler Park now stands, near the West Chicago Community High School, as well as in the West Chicago Sewage Treatment Plant, which resulted in runoff into the West Branch of the DuPage River and into floodplains such as the yards of homeowners. Mill tailings are effectively radioactive sand that can easily be carried by wind into bodies of water, the air we breathe or onto food grown nearby. Clean up of the Superfund sites occurred from 2005-2012 but prior to this West Chicago reportedly had elevated rates of cancer. Thanks to the help of Hayley Diana for engineering our mattes, titles and shutter, Co-Cinematographers Alex Halstead and Andrew Skalak, and Colorist Christian Kozlowski.

A textural macro collage of a rust belt landscape- scratched, splattered, dripping, cracking, and bursting to the surface. Photographed and meticulously edited over one year in Buffalo, NY, the reverberant tones of the New York Central rail line provide the rhythmic pulse to a rapid cascade of multi-hued material decay and metallic de-composition.

Konstantin is an experimental film shot on high-contrast black and white 16mm film using a single 100ft reel. The film is an in-camera edit with triple exposures, creating a layered and complex visual language. Through this aesthetic, the piece explores themes of queer love and queer ecology. It invites the viewer to enter a unique and poetic world, where the boundaries between the human and natural realms blur and merge. Pushing against human exceptionalism & into a world where there is no ‘natural’ or ‘unnatural.’ Can a walk in the forest, a kiss between lovers, a roll of film, the touch lichen, liberate ourselves from these hierarchies?

Image—terror—sculpture—slaughterhouse—garden—animation. From the politics of the slaughterhouse to vanishing in the wilderness: An archive of images harmonize into an ambience of violence, disengagement, and disappearance. The tone of this work should be read as an object.

The great voyages to the "New World" were seen as expanding the frontiers of the visible and displacing those of the invisible, therefore, maps from that time render the real and imaginary. The film follows a voyage of the Brazilian Military in search of an imaginary island with the same name as their country. The myth from 1483 Brazil, or Hy-Brazil, is known to exist to the west of Ireland and above the Fortunate Islands. Vision of Paradise is an examination of the capacity of the human imagination and computer simulations to construct environments. Amidst the fine threshold of the real, simulated, and imagined, the film analyzes the contemporary ideas of virtual reality and their ambition to expand the frontiers of the physical world into a "New World". 

Settler conceptions of NDN-ness bleed through from the future to the past to the present. There is no space for NDNs in tomorrow's utopia, as it refuses to know tomorrow's NDNs are limitless. In Kolaswvt Vfullēs, Star Trek is a proxy for examining the colonized science fiction landscape; a momentary inspection of the deep well of Indigenous futurisms.

Human beings act on nature in order to keep their lives. From their activities, several streams are generated and landscapes are transformed. I focus on the beauty of transformation created through the relation between human activities and nature, and want to express the beauty as a kind of visual ballet. In this film, I shot a scene of burning of reeds fields. When the reeds fields are burned carbon dioxide is generated, but newly generated carbon dioxide is absorbed by the spring reeds sprouts in their process of growth. Whole processes are carbon neutralized.

Monolith braids found footage, documentary, experimental, 3D animation and narrative filmmaking devices to explore notions of collectivity, dissent, indigenous knowledge and time as a series of folds, splits, ruptures, loops, clusters, drifts, ascents, descents, vortexes, pulses, rhythms, linkages, aberrations, burials, and unearthings. This shape-shifting film addresses ongoing legacies of nationalist archives, archeology, and coloniality.

Bezuna explores the complexities of fleeing a war-zone through the analysis of peripheral details. Through interweaving different narratives, the film presents the raw and broken feelings of a child and a cat whose lives will never be the same.

A ghost story about the memories of the Biafran War. Chisom encounters Nkechi in a dreamscape; a girl with an otherworldly and strange demeanor. Through their encounter, Chisom learns that Nkechi is a wandering spirit who lived and died during the Biafran War/Nigerian Civil War.

Monolith braids found footage, documentary, experimental, 3D animation and narrative filmmaking devices to explore notions of collectivity, dissent, indigenous knowledge and time as a series of folds, splits, ruptures, loops, clusters, drifts, ascents, descents, vortexes, pulses, rhythms, linkages, aberrations, burials, and unearthings. This shape-shifting film addresses ongoing legacies of nationalist archives, archeology, and coloniality.

A lost and amnesiac narrator explores the toxic and alien waterways of New York City in order to discover his relationship to this environment and what it means to be human.

It is an experimental audiovisual artwork using a prepared TV, VHS camera, and SC digital app. This is a comprovisation (composition+improvisation). Sound and visual meet at synch points (Chion). Music for the eyes.

In 1995, an astronomer proposed a peculiar project. It was to use the Hubble Telescope to capture a small part of the universe that was then known to be a void. In 1447 in Chosun Dynasty, Prince Anpyeong had a dream of walking through a peach blossom forest shrouded in clouds and mist, and he asked the painter, Ahn Gyeon, to capture it in a painting. Through the juxtaposition of the two historical anecdotes, the film examines the images of ‘the far and near’ through printing, transforming, and distorting the photos from the NASA Image and Video Library.a rust belt landscape- scratched, splattered, dripping, cracking, and bursting to the surface. Photographed and meticulously edited over one year in Buffalo, NY, the reverberant tones of the New York Central rail line provide the rhythmic pulse to a rapid cascade of multi-hued material decay and metallic de-composition.

A Sunday walk in a forest turns into a poetic journey on perception.