Technological sensory enhancement serves as an instrument of exposure. The cosmos is far more complex and information rich than my physiology perceives it to be, and much of what drives humanity is the aspiration to feel a deeper connection to environmental qualities that defy explanation. For me, an eagerness to explore technological instruments was spurred by curiosities with the supernatural and immaterial world. These curiosities took hold after my father, a pilot, was killed in an airplane accident. Prior to his death we would play with radios, and build rockets in our small, makeshift basement in Kansas. Eventually, AM/FM radio played a mystifying character in the quietness of rural, daily life and I wanted to know what ghostly features occupied radio’s chthonic frequencies. Sometimes the indecipherable language of static pulses would suddenly burst from the radio on my desk late at night, sending my young mind into fearful states, which later lead to studying the secret facets of certain technology.

Investigating media applications as objects with malleable, and often veiled, preconditions can become a sociopolitical procedure, and I see art as an act of fracturing naturalized spaces. My method is one of breaking into diverse materials, searching for concealed portals. What are the limits of the technologies I utilize? Is my body a technology? Where can technology be misused, breached, or reshaped to locate alternative trajectories? Through schismatic and precarious situations I challenge the boundaries and filters of various physical and imagined bodies, which has served as a point of reference for intermedia performances, video works, constructed objects, and sonic exploration.

Research built around perceptual aids, assists in the reallocation of the senses. These unconventional prosthetic studies occupy the intersections of social sculpture, conceptual art, and augmented reality. Too often terms like AR and VR are couched in commercial tools and not in perception itself. Augmented reality is a means of extending my sensorial “touch” within the world at large. There are many ways to achieve these outgrowths of the body, so I use obsolete and novel materials interchangeably to work out the results. Operating under a forensic drive to reveal specters and data hidden from plain view, I am guided by feral approaches to technology. While often privileging noise over signal, my actions take a position of sabotaging commodities in order to contort them towards these hidden, eccentric desires.

In recent years I have been producing work at-a-distance, which emphasizes the territory of the artist- operated mobile laboratory. Such a modular method bares witness to perceptually evocative objects/events that are grounded primarily in flexibility and mischievous study, obfuscating tools much of the time. I take inspiration from practices of re-mediating analog and digital apparatuses, in order to create channels for responsive aesthetic engagement. Shifting artistic research from proper technical use towards intuitive or “counter-productive” inquiry can lead to imaginaries that push against prefabricated, societal circumstances. I search for a way of laboring that gravitates around failure and rupture as anarchic knowledge production. Knowledge is always situated and enlivened through acts of friction. Can opening up the confines of a tool’s construction signal unique insight into human desire? This “any means necessary” attitude cultivates open-ended works that are superimposed against media archaeology, infrastructural interference, and social engagement. Through re-purposing technological materials as anarchic prosthesis, out-of-kilter tactics for determining fieldwork and information retrieval have become necessary components of my practice.