I like to think of my video works as minimalist documentary experiments that challenge mainstream conceptions of documentary filmmaking. I work with long takes and almost no editing other than the addition of slow motion. I have no interest in music, voice over, fast paced editing, or any other techniques that make up the vocabulary of commercial filmmaking. These works are best viewed in an architectural setting on a large screen or as a projection. Like a painting, I want these works to be meditative experiences viewed over time with repeated viewings. I like to think of these pieces as animated documentary photographs- sequential still images from the real world of people in public spaces.
I'm interested in photography and filmmaking as analytical tools. Like the 19th Century pioneers Eadweard Muybridge and E.J. Marey, I take sequential photographs with the goal of making discoveries- understanding my subjects by what is revealed in the process. The resulting slow motion images are somewhere between still photography and cinema- images that are both kinetic and contemplative. These images are also somewhere between science and art, existing as both objective records and interpretive constructions of the external world of people and events.
The three minute video below contains selected scenes from a variety of works.