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🔵 Thrilled to announce that ‘Homecoming’ will have it’s premiere installation at @nieuweinstituut as part of the 2026 International Film Festival Rotterdam @iffr opening January 29th. This project has been a true labor of love—and easily the most complex production I’ve taken on to date.

Homecoming emerged through the collective effort of many collaborators and supporters including animators, ecologists, musicians, voice actors, and sound engineers. I am deeply grateful to everyone involved who has helped along the way, as well as to @iffr and @nieuweinstituut for their belief in the project and its vision. I very much look forward to sharing Homecoming with more audiences in the years ahead. More on that soon—

✈️ See you in Rotterdam.

—
Homecoming
4k Projected Video, Color, Sound
15min 37 sec
2025

Written and directed by @mrkdrf
Produced by @electronic.image

Virtual Reality Child played by Zoe Birdie CaraDonna
Host played by Dr. PaulCaraDonna @pcaradonna

Voice Over No. 1 by @mrkdrf
Voice Over No. 2 by @cassandra.croft
Z. Birdie Voiced by @mrkdrf

Character animation by @derek__larson

Original score by @randallbdunn

Featuring:
@charmainelee
@peretsky
@lukebergmanmusic 
@kjsawka

“AUTOMOTON”
Written by @randallbdunn, @arjanmiranda, and @peretsky
Additional sound design by @natesalon
Musical creative direction by @randallbdunn

Score mixed by @randallbdunn and@greenbergaudio

Music editor: @arjanmiranda

Score and sound design produced by @randallbdunn
Mixed and recorded at @circularruinstudio

Additional music by @peretsky

Audio installation design by @chloealxandra
Audio installation mix by Astral Spatial

Ecological Advisors: 
Dr. PaulCaradonna @pcaradonna
Dr. Amy Iler @amymarieiler
Dr. Jane Ogilvie @janeeogilbee
Dr. Will Petry

Supported by the @rocky_mountain_bio_lab and the National Science Foundation

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

Premiere of ‘Homecoming’ at @nieuweinstituut for @iffr Art Directions 2026 🔵

Infinite thanks to everyone involved with the production of this work. It took a village and I couldn’t have done it without you all—and thank you @evant_garde for putting this work in such wonderful context and in such great company for its first installation ✨

Some photos and video from Rotterdam 📷 🎥

Work details at link in bio 🔗

Future installations to come—more soon 📽️

——
Homecoming
4k Video (Color, Sound)
15min 37sec
2025

A fractured journey of a troubled return, where home remains unfixed and out of reach. Trailer for my new film, Homecoming.

@iffr 2026 Official Selection.
—
Homecoming
4k Projected Video, Color, Sound
15min 37 sec
2025

Written, directed, and produced by @mrkdrf

Virtual Reality Child played by Zoe Birdie CaraDonna
Host played by Dr. PaulCaraDonna @pcaradonna

Voice #1: Mark Dorf @mrkdrf
Voice #2: Cassandra Croft @cassandra.croft
Z. Birdie: Mark Dorf @mrkdrf

Character Animation:
Derek Larson @derek__larson

Original score by Randall Dunn @randallbdunn

Featuring:
Charmaine Lee @charmainelee
Max Alper @peretsky
Luke Bergman @lukebergmanmusic 
KJ Sawka @kjsawka

Additional music by:
Max Alper @peretsky

“AUTOMOTON”
Written by Arjan Miranda @arjanmiranda and Max Alper @peretsky

Musical Creative Direction: Randall Dunn @randallbdunn

Score Mixed by:
Randall Dunn @randallbdunn
Ben Greenberg@greenbergaudio

Music Editor:
Arjan Miranda @arjanmiranda

Score and Sound design produced by Randall Dunn @randallbdunn
Mixed and recorded at Circular Ruin Studios @circularruinstudio

Audio Installation Design by Chloe Alexandra Thompson @chloealxandra
Audio Installation Mix by Astral Spatial

Ecological Advisors: 
Dr. PaulCaradonna @pcaradonna
Dr. Amy Iler @amymarieiler
Dr. Jane Ogilvie @janeeogilbee
Dr. Will Petry

Supported by the @rocky_mountain_bio_lab and the National Science Foundation

“‘arp angels’ is the collapse of difference between simulation and reality. a place where the physical and digital architectures declare presence and assert agency. along with the architecture, the camera itself asserts its presence”

director mark dorf (@mrkdrf) on the conceptual framework behind his video for @discoveryz0ne’s “arp angels” 🪽

for “arp angels,” dorf adopted a handheld first person point of view to evoke a bodily experience of place within a world stripped of reliable logic. while constructing the video’s environments, dorf hand-animated every element without the use of ai-generated production tools, a “deliberate choice to embody the craft of a world in a time when reality’s logic is increasingly fleeting”

above, an extended look at “arp angels” for your simulated viewing pleasure 🌳🪨

‘Homecoming’ is screening with @aksiomaorg at Slovenian Cinametheque next week as a part of ‘Becoming Image’, an exhibition and screening program curated by the wonderful Marco de Mutiis.

The program investigates how computational photography, machine vision, CGI and generative AI have fundamentally altered the ontological status of the image. Hugely thankful to Marco and the folks at Aksioma Institute for Contemporary Art for placing my work in this critical dialog. 

Screening at 5PM
May 12, 2026

Aksioma Institute for Contemporary Art

Slovenian Cinematheque
Miklošičeva cesta 28, 1000
Ljubljana, Slovenia

Homecoming
4k Projected Video, Color, Sound
15min 37 sec
2025

More info at link in bio
Credits in Comments

‘Homecoming’ is screening with @aksiomaorg at Slovenian Cinametheque next week as a part of ‘Becoming Image’, an exhibition and screening program curated by the wonderful Marco de Mutiis.

The program investigates how computational photography, machine vision, CGI and generative AI have fundamentally altered the ontological status of the image. Hugely thankful to Marco and the folks at Aksioma Institute for Contemporary Art for placing my work in this critical dialog. 

Screening at 5PM
May 12, 2026

Aksioma Institute for Contemporary Art

Slovenian Cinematheque
Miklošičeva cesta 28, 1000
Ljubljana, Slovenia

Homecoming
4k Projected Video, Color, Sound
15min 37 sec
2025

More info at link in bio
Credits in Comments

‘Homecoming’ is screening with @aksiomaorg at Slovenian Cinametheque next week as a part of ‘Becoming Image’, an exhibition and screening program curated by the wonderful Marco de Mutiis.

The program investigates how computational photography, machine vision, CGI and generative AI have fundamentally altered the ontological status of the image. Hugely thankful to Marco and the folks at Aksioma Institute for Contemporary Art for placing my work in this critical dialog. 

Screening at 5PM
May 12, 2026

Aksioma Institute for Contemporary Art

Slovenian Cinematheque
Miklošičeva cesta 28, 1000
Ljubljana, Slovenia

Homecoming
4k Projected Video, Color, Sound
15min 37 sec
2025

More info at link in bio
Credits in Comments

‘Homecoming’ is screening with @aksiomaorg at Slovenian Cinametheque next week as a part of ‘Becoming Image’, an exhibition and screening program curated by the wonderful Marco de Mutiis.

The program investigates how computational photography, machine vision, CGI and generative AI have fundamentally altered the ontological status of the image. Hugely thankful to Marco and the folks at Aksioma Institute for Contemporary Art for placing my work in this critical dialog. 

Screening at 5PM
May 12, 2026

Aksioma Institute for Contemporary Art

Slovenian Cinematheque
Miklošičeva cesta 28, 1000
Ljubljana, Slovenia

Homecoming
4k Projected Video, Color, Sound
15min 37 sec
2025

More info at link in bio
Credits in Comments

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

What really counts as nature in an age of technological acceleration? 

@mrkdrf “New Nature” developed over a decade of fieldwork in the Colorado mountains treats photography like ecological data, assembling a world that feels real but can never fully be. 

@saraludy approaches that same boundary from the inside out, refusing to pin nature down at all. Their work asks what it means to sense, simulate, and reimagine nature when the tools we use to see it are also rewriting it. 

Interviews by @f.wvn 

Edited by @jamisonkh4 

Read the full zine at artdao.xyz or via link in bio

Screening my 2021 film “A New Nature” at @electronicartsintermix for ‘Rendered Instant’. Join us this Thursday for an evening of screenings, images, and sculpture curated by @blade_study. Honored to be in such amazing intergenerational company.

Thursday, April 9 6–9PM
Screenings at 7PM

264 Canal Street 3W, NYC
RSVP via the link in @electronicartsintermix bio.

Featuring work by Stewart Bird, Mark Dorf, Allen-Golder Carpenter, Will Freudenheim, Frank Heath, Gary Hill, Kunning Huang, Jacob Hurwitz-Goodman, Maggie Lee, Kristin Lucas, Maya Man, Emmanuel Massillon, Takeshi Murata, Karyn Nakamura, Alix Pearlstein, Ben Shirken, Stan VanDerBeek and Nick Vyssotsky.

—

PRESS RELEASE GENERATOR 1770926352 | SEED 430021 | ONTOLOGICAL LEVEL 46%

“At 00:00:00 UTC on 1 January 1970, a counter began. Unix time measures reality in non-leap seconds, accumulating without pause, a technical infrastructure that functions as our closest approximation of a universal now: a shared coordinate system where human perception and computational logic converge.

Yet convergence does not constitute equivalence.

The works assembled in this exhibition are computational, generative, or occupy both positions. Some execute continuously, producing output that exceeds any individual viewer’s capacity for reception. Others investigate the ontological gap between what machines can generate and what humans can meaningfully attend to. All operate within the productive tension between infinite generativity and finite attention.”

Screening my 2021 film “A New Nature” at @electronicartsintermix for ‘Rendered Instant’. Join us this Thursday for an evening of screenings, images, and sculpture curated by @blade_study. Honored to be in such amazing intergenerational company.

Thursday, April 9 6–9PM
Screenings at 7PM

264 Canal Street 3W, NYC
RSVP via the link in @electronicartsintermix bio.

Featuring work by Stewart Bird, Mark Dorf, Allen-Golder Carpenter, Will Freudenheim, Frank Heath, Gary Hill, Kunning Huang, Jacob Hurwitz-Goodman, Maggie Lee, Kristin Lucas, Maya Man, Emmanuel Massillon, Takeshi Murata, Karyn Nakamura, Alix Pearlstein, Ben Shirken, Stan VanDerBeek and Nick Vyssotsky.

—

PRESS RELEASE GENERATOR 1770926352 | SEED 430021 | ONTOLOGICAL LEVEL 46%

“At 00:00:00 UTC on 1 January 1970, a counter began. Unix time measures reality in non-leap seconds, accumulating without pause, a technical infrastructure that functions as our closest approximation of a universal now: a shared coordinate system where human perception and computational logic converge.

Yet convergence does not constitute equivalence.

The works assembled in this exhibition are computational, generative, or occupy both positions. Some execute continuously, producing output that exceeds any individual viewer’s capacity for reception. Others investigate the ontological gap between what machines can generate and what humans can meaningfully attend to. All operate within the productive tension between infinite generativity and finite attention.”

Screening my 2021 film “A New Nature” at @electronicartsintermix for ‘Rendered Instant’. Join us this Thursday for an evening of screenings, images, and sculpture curated by @blade_study. Honored to be in such amazing intergenerational company.

Thursday, April 9 6–9PM
Screenings at 7PM

264 Canal Street 3W, NYC
RSVP via the link in @electronicartsintermix bio.

Featuring work by Stewart Bird, Mark Dorf, Allen-Golder Carpenter, Will Freudenheim, Frank Heath, Gary Hill, Kunning Huang, Jacob Hurwitz-Goodman, Maggie Lee, Kristin Lucas, Maya Man, Emmanuel Massillon, Takeshi Murata, Karyn Nakamura, Alix Pearlstein, Ben Shirken, Stan VanDerBeek and Nick Vyssotsky.

—

PRESS RELEASE GENERATOR 1770926352 | SEED 430021 | ONTOLOGICAL LEVEL 46%

“At 00:00:00 UTC on 1 January 1970, a counter began. Unix time measures reality in non-leap seconds, accumulating without pause, a technical infrastructure that functions as our closest approximation of a universal now: a shared coordinate system where human perception and computational logic converge.

Yet convergence does not constitute equivalence.

The works assembled in this exhibition are computational, generative, or occupy both positions. Some execute continuously, producing output that exceeds any individual viewer’s capacity for reception. Others investigate the ontological gap between what machines can generate and what humans can meaningfully attend to. All operate within the productive tension between infinite generativity and finite attention.”

Screening my 2021 film “A New Nature” at @electronicartsintermix for ‘Rendered Instant’. Join us this Thursday for an evening of screenings, images, and sculpture curated by @blade_study. Honored to be in such amazing intergenerational company.

Thursday, April 9 6–9PM
Screenings at 7PM

264 Canal Street 3W, NYC
RSVP via the link in @electronicartsintermix bio.

Featuring work by Stewart Bird, Mark Dorf, Allen-Golder Carpenter, Will Freudenheim, Frank Heath, Gary Hill, Kunning Huang, Jacob Hurwitz-Goodman, Maggie Lee, Kristin Lucas, Maya Man, Emmanuel Massillon, Takeshi Murata, Karyn Nakamura, Alix Pearlstein, Ben Shirken, Stan VanDerBeek and Nick Vyssotsky.

—

PRESS RELEASE GENERATOR 1770926352 | SEED 430021 | ONTOLOGICAL LEVEL 46%

“At 00:00:00 UTC on 1 January 1970, a counter began. Unix time measures reality in non-leap seconds, accumulating without pause, a technical infrastructure that functions as our closest approximation of a universal now: a shared coordinate system where human perception and computational logic converge.

Yet convergence does not constitute equivalence.

The works assembled in this exhibition are computational, generative, or occupy both positions. Some execute continuously, producing output that exceeds any individual viewer’s capacity for reception. Others investigate the ontological gap between what machines can generate and what humans can meaningfully attend to. All operate within the productive tension between infinite generativity and finite attention.”

The godfather of cosmic, progressive, ambient guitar announces his first major solo album in over a decade.
“Secret sonic treasure” — Jim Jarmusch
now i imagine a place not the same — out May 29 on Kou Records. Presale live now, link in bio. More to come today.
📷 Visualizer by @mrkdrf · Full video on Kou Records YouTube.
#davidtorn #kourecords

New track “Dusk” is out today from my new record LIBRARY COPY DO NOT REMOVE out May 15th via @rvngintl

Video produced and directed by @mrkdrf
Music played and produced by me and @worldbrain_ mixed by @etienne_tippex

What the studio is looking like these days 🌱

I’ve been working on some new images and videos for the last three weeks at @wavehill as a winter resident. Open studios on April 11th. Come say hi—

What the studio is looking like these days 🌱

I’ve been working on some new images and videos for the last three weeks at @wavehill as a winter resident. Open studios on April 11th. Come say hi—

Portrait by @sammckenna. Looking forward to some intercontinental travel in 2026 and an exciting first home for a long in the works film installation. More to share very soon.

Wishing everyone the very best in 2026 🌱

A new section is live on my site: a reference archive. It is a growing index of the texts that have most directly shaped the ideas, questions, and orientations at the core of my practice. Drawing from ecological theory, media criticism, feminist and posthumanist philosophy, political economy, and the history of art and technology, these works reflect an ongoing commitment to situating creative practice within broader intellectual, cultural, and environmental conversations. This is not a bibliography of influences per se, but rather a map of research over time.

The texts gathered in the list are not all of equal weight or relevance. Some are foundational works I return to repeatedly that I have built a close relationship with over time. Others are more peripheral, useful for a particular interest or context without being central to my thinking as a whole. A number of entries are included precisely because they present positions I do not hold, or hold only partially. 

Ultimately, this is an effort to mobilize information and knowledge and to put ideas into relation with one another. It is neither exhaustive nor fixed, and entries will continue to be added over time. I hope that this list is as helpful for others as it has been for me.

Please note: This section is still taking shape and will grow over time. It is not yet complete nor will it ever be.

Link in bio 🔗