Buried Land 86 min. feature film, premieres at the Tribeca Film Festival 4/2010.


Part documentary, part drama, Buried Land tells the story of ordinary people attempting to realize a dream. Two actors cut a path through the real community and strange reality of Visoko, the small town at the heart of a remarkable claim: the discovery of ancient pyramids, not in Egypt, but central Bosnia...

funded by The Princess Grace Foundation, USA and the AHRC, UK

Mirror Series 2006-2008, five 4min. looping videos designed for installation.


The bathroom mirror as the site for private rehearsal of the public persona is explored through a series of long-take performances through a magical post production circuit. This series functions as a digital update to the early auto-performance video work of artists such as Vito Accanci and Will Wegman. Here, instead of the live self-monitored video feed being the situation of performance, it is the digital circuit, the performer interacting with not only his own monitored image, but the knowledge of the magical post-production that will occur.

Exhibition: Big Orbit Gallery, Buffalo, NY (solo show title, "Double Narcissism"): Summer 2008
Arilington Arts Center 2010

Screenings of Individual videos: Split Film Festival, Croatia; Moscow International Film Festival; Chelsea Art Museum, New York; Beyond/In Western New York, Buffalo; Shikenader, Vienna; Open Video Projects, Rome; OMSK, London.
published in OMSKBOOK, edit. Clare Moloney, Arts Council England, 2007. funded by Big Orbit Gallery (NYSCA / Andy Warhol Foundation)

52 Card Cinema 2008-2010, interactive media installation using fiducial-based Augmented Reality, made in collaboration with York University's Future Cinema Lab


exhibition: Film Studies Association of Canada conference, Toronto; Interational Society for Electronic Arts conference, Singapore
ISEA Juried Exhibition 2009; Abandon Normal Devices Festival 2010
European Media Arts Festival 2010; Beyond/In Western NY 2010

52 Card Psycho is an installation-based investigation into cinematic structures and interactive cinema viewership using augmented reality technology. The concept is simple: a deck of 52 cards, each printed with a unique identifier, are replaced in the subject's view by the 52 individual shots that make up Hitchcock's famous shower scene in Psycho. The cards can be manipulated by the viewer: stacked, dealt, arranged in their original order or re-composed in different configurations, creating spreads of time, and allowing a material interaction with the 'cinema screen'.