Since college I have worked as a creative collaborator to earn a living while concurrently developing my own personal artistic vision. While on a bike ride in early in 2006, I discovered a small plot of undeveloped land in Queens and was inspired to document the experience through video.

The movies I create are composed of personal experiences, found footage and photography captured on a typical digital camera. The result may be considered a combination of home-movie, travelogue and the choreography of movement and of sound. In my work I embrace the uncanny, the unexpected, happenstance and unintentional imagery.

The purpose of these movies is to create an alternative experience through the documentation of spaces, places and events familiar and discovered, spectacular and quiet, without committing to a linear allegory. While capturing my experiences I examine the link between home movies and of documentation in its formal aspect deeply connected within personal narrative of memory and its relation to universal emotions in varying degrees. Sentiment, such as longing, broken romanticism, and the suspension of reality, I embrace as an aspect germane to my medium.

The shots are spontaneous and immediate. They move and shift from my sole journey to the collective experience, from the familiarity of storytelling narrative to the abstract. Captured moments are more important to me than maintaining continuity with lighting or trying to achieve aesthetically pleasing imagery. I welcome moments captured completely by mistake and imagery created by accident.

In the final editing process the spontaneity of sound and memory determines the choreography of the sentiment. Identifying these experiences results in a reconsideration that emulates the atmosphere by combining random juxtaposed sound and imagery with that which is carefully spliced and manipulated with attention to detail. In some cases the length of the shot may determine its placement and other times it is the look or the sound. The process is often concurrently arbitrary, playful, concise and focused.

Sound bytes include live recordings made concurrently with footage, songs and pre-recorded effects from purchased CDs. The sound, as with the footage, is not meant to be pristine or even true to the visual action. Whether it is a song, live recording or the choice of silence, sound invariably serves as a catalyst that sets mood and is ultimately crucial to the choreography of the piece.

In my work I recognize that for many people media has become a substitute for experience and is considered a viable means for cultivating belief systems. Individuals gather information and formulate opinions based entirely on vicarious information rendering experience obsolete. In my own experience, I have convinced myself that a recollection has been cultivated through active participation when in reality, a photograph, and perhaps a story accompanying the picture, are the source of the memory. Can sharing experience be a justified means to development? What then, is real? What is manufactured?