Radical Discontinuity is a psychogenic animated thriller executed in graphic novel style using symbolic imagery, while maintaining an abstract suggestive level that plays upon the mind of the receiver. It is composed of mixed formats, 16mm film strips buried in the earth and manually affected in the direct-animation style of filmmaking, live action (DV format), and animation.

The creation of this film was a collaboration with the cult psychogenic/industrial sound artists of Schloss Tegal (Marc Burch and Richard Schneider). It has been performed live as videoart accompaniment to the musicians with different visual iterations depending on the order of tracks performed live and the length of performances. The show has been presented in New York and in Prague (XIV Prague Industrial Festival, an International Meeting of Avantgarde Artists and Musicians). From these live iterations I committed the material to a 30min. experimental musical film set to my own selection of the tracks from their album The Myth of Meat. 20 and 10 minute versions are also available.


Catch du Jour is a 10-minute short experimental film. A parallel of hunter and the conquered prize, a game of seduction. The film is made entirely with found footage, some of which featuring Donald Sutherland in Alan Arkin’s film Little Murders.

The making of Catch du Jour:

During the process of cataloguing my entire film stock collection, a theme began to emerge where imagery from various sources seemed to follow a narrative of seduction, courtship, and conquering despite their very disparate sources: pieces of a Brazilian music video donated by a friend; portions of a documentary on Inuit hunting practices and tribal living, which I obtained from a communal film closet in film school; film found in a flea market about a couple falling in love (researched and found later to be Little Murders); films purchased on Ebay of which content I had no idea before purchasing (revealed to be vintage 16mm film of cowboys singing about not getting along with the wife and going to visit their mothers instead). There are also two vintage 1960’s beer commercials which I use to start and finish the film. At first they seem like interstitials in the TV movie watching experience, but upon deeper understanding of the narrative, they become part of it.

The film construct process:

The film is made by hand, i.e., there are double layers glued to each other in parts, and all edited on a Steenbeck, including the audio. There is however, audio manipulation in post-production where I composed rhythmic sound art from the more abstract audio parts of the film and from the film sprocket noise recorded while playing it on a 16mm projector.



Shown at FestArte Videoart Festival circuit starting at Museum of Contemporary Art of Rome, and at OFF LOOP Festival in Barcelona

Length: 10:00. Original Format: 16mm. Language: English

AMERICA (2005) Live multisensorial cinema

A handmade film with some found footage inspired by Allen Ginsberg’s poem America.

Length: 5:43. Original Format: 16mm.

MAKE THE GREEN GRASS GREENER  (2010)  Music Video for Artist Monta At Odds

Length: 4:04. Original Format: 16mm.

PLASMA (2004)


RADICAL DISCONTINUITY (2010)  Experimental musical film performed with musicians Schloss Tegal

Length: 30:00, 20:00, 10:00 versions. Original Format: 16mm, CGI, mini DV.

My experimental cameraless films have channeled two main forms of expression and aesthetic inquiry:

  1. Anthropophagic films: Graphic films yielding organic ethnographic autopoiesis (immersed in substances representing the local culture, then buried in the earth and unburied after one year of immersion), and Experimental narratives made primarily with found footage.

  2. Direct-Animation films: additive and subtractive methods directly affecting the film’s emulsion.

Both these practices may be utilized in the same film and the film may be combined with digital forms of image creation and post-production.

Art Practice of Cameraless Filmmaking and Found Footage Use:

I have collected 8mm and 16mm film footage over the years from which I create new contexts in experimental narrative and non-narrative films. The individual pieces from these various film sources may even be recognizable at times, but seen in a new context, immediately acquire new meaning or contribute its original symbols to a new significance. A lot of the source films I’ve collected fall under the category of found footage, that which is discarded by their owners for not possessing enough value for them to keep. I construct new narratives out of other people’s discarded and dejected recorded memories, creations, and events. And by using such footage in my work, I call under question the validity of ownership claims of usage of their discarded materials, and what is considered fair use. Some of the films below follow this practice in whole or at least partially. An effort is always made to locate the source of ownership of material and appropriately credited. The work I make under this practice is not for wide commercial distribution.

If you’d like to donate footage, keeping this practice in mind, please email me.

Manipulation of found footage to create a narrative contemplating both the mundane and sublime moments at realizing the American Dream. A display of subjects’ simple conformity in everyday tableaus when attempting to make their green grass greener, an allusion to the song title.

10-minute version of Radical Discontinuity

My concept for this film was the construction and deconstruction of the American Hero through the semiotics of American pop culture, which tends to create a cult of dead heroes. Tracing a parallel from some real and perceived heroic and now mythic figures from 60’s culture, JFK and Martin Luther King, Marylin Monroe and Elvis Presley, we arrive at George W. Bush, the antithesis of a hero to many, and to whom everything was given but nothing much was ever expected. An inversion of the meaning of sacrifice between the two Americas.

Above are stills from a live recording of the film performance which used live pyrotechnics and scent design. Presented May 2005 at Rififi Cinema, East Village, NYC.

A direct animation 16mm film loop created using various subtractive and additive techniques applied directly on the film surface, such as peeling off the emulsion, collaging and painting. This film is part of an extended project involving the making of large scale prints from selected film frames.


A direct animation 16mm film created originally as an experiment, whereby I buried a roll of raw 16mm film stock bare into the earth for 1 year (4 seasons) following a set of chance operations including bathing and spicing the film with liquid and solid substances before burial.

This experiment spawned the METAMORFOSE film series, whose objective is to immerse the films in the singular context of each city where they are buried and present them in installations that speak directly to the characteristics of the location and to show how the buried film was affected by that direct interaction.

See METAMORFOSE installation and EFEMEROS installation/performance.

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