studio 303, 2022

This workshop is intended for artists and performers from all backgrounds interested in developing a video practice and exploring translation of performance into moving image.

Covid-19 transformed the way we share space. The opportunities to perform became almost exclusively virtual; with streaming and video attempting to simulate Live-ness. A demand emerged for artists to rapidly shift their work online, as though band-width and presence were interchangeable; as though a screen could satisfy the desire for a proscenium.

In this workshop we will examine the differences between making video as documentation vs. creating dance-video.
We will survey different stylistic strategies applied by iconic cinematographers to contemporary choreographers that push the possibilities of feeling in film.

In-person explorations of equipment will be offered with basic how-tos to demystify the technology. Local resources will be shared as well as detailed strategies to embrace limitations of space, time, and funding


Haptic visuality workshop at the Klondike Institute of Art and Culture
Dawson City, YT, 2019

“In Haptic Visuality, the eyes themselves function like organs of touch... It is more inclined to move than to focus, to graze than to gaze.”
This workshop offers an introduction to the history and function of Haptic Visuality in cinema and it’s dynamic uses that generate intimacy and involved viewership.
As a moving-image maker I am interested in the ways in which video and film produce new ways of seeing. How you can invite your audience to see new perspectives, to entice, to disorient.
The lens becomes a playful tool to envelop the eyes with sensation rather than subject, where narratives can unfold without words: a tactile telepathy.
The lichen, fur, tundra, crystallized snow, chandelier ice; the Yukon is a place of supernatural textures and sounds that are witnessed in great expanses but can also be invited into intimate moments.
In this workshop we will look at new ways of framing, of touching with the eyes and how to make DIY filters to generate exciting tactile viewing experiences. This activity will emphasize how it isn’t essential to have access to state of the arts camera equipment or learn complicated editing software to obtain dynamic cinematic effects.