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I am an experimental animator. As an animator, I build films frame by frame. Nothing exists beforehand; each of the twenty-four frames in a second is a new creation. As an experimental animator, I make my films without formulas or preconceptions. Each of my projects is based on questions that I attempt to answer through making the film. The film is a record of the process, so in a sense, the film creates itself.  My work uses varied imagery – from cartoon to pure textural abstraction, unusual editing techniques, and carefully structured sound design to make human vulnerability, conflict, and history concrete and to convey a deeply personal aesthetic experience to viewers.

Animation is an incredibly flexible and expressive medium that brings together cinema, visual art, performance, writing, music, sound design, and sculpture. Every visual mark, no matter how abstract, becomes a character, and every character becomes an abstraction. Movement indicates life, so when a line moves, it lives. On the other hand, it is still obviously a mark on paper. This tension between simultaneously seeing a mark as both alive and not-alive is one of the deep fascinations of animation. As a result of this “life-making” tendency, there is nothing on the screen without an identity. Marks on paper become my partners in the dialog of making the project. Eventually, they direct me as much as I direct them.