The world emerges from the chaos of the tamago (egg) and emerges into the cycles of the sun to moonlight to sunlight.

Following the olympic order of gymnastics (vault, bars, beam, floor) the film reimagines a cinematic routine on each of these events.

The artist’s feet frame quivering flames in this hand-processed play of light.

Sidewalks, trees, and sky run forward and backward across four frames of unslit double 8mm, reflecting embodied perception through the film’s very structure. Shot on a Bell & Howell Filmo Double Run Eight camera from the Rod Slemmons Camera Archive. 

A short in-camera sequence of play between the filmmaker and a matte box. The inversion of the body is a familiar and natural state in gymnastics, where handstands (逆立ち / sakadachi in Japanese) are an essential part of the physical lexicon. Camera obscuras share a similar state: the image is upside down. In both handstands and camera obscuras, the inverted body is the correct orientation. 

Details on the ground and in the sky.

A dance film playing with the malleability of dance, movement, documentation, cinematography and choreography. 

Chicago Film Society permanent collection

The act of framing as a system of vision. 

Remnants of spatial histories of the Eleanor Countiss mansion, now the International Museum of Surgical Science in Chicago.

Two movers exploring the chair as activator of movements.

An homage to Buckminster Fuller, drawing on his belief that the Earth’s rotation could be felt by a body aligned with the North Star, with Maggie Wong.

A film adaptation of Milad Mozari and Mitsu Salmon’s site-responsive performance Mt. Shamao, commissioned for Experimental Sound Studio’s Florasonic series at the Lincoln Park Conservatory.

A collaborative dance vignette with Mitsu Salmon where bodies interact in enclosed constellations and heterotopias.

The movement of bodies through space for the site-specific installation at 6018|North for the show "Living Architecture," inspired by architect Bernard Cache's notion of inflections.

An early morning fishing excursion.

A movement exercise where the camera as an extension of the human body and as documenting apparatus through dance.

An environmental exploration of space through bodies of light, with nods to Uta Barth, John Smith, and Maya Deren.

A film about reaching and searching and looking and picking.

A backyard excursion playing with snow as material and colour.

A playful look at the relation between words, implied actions, and potential consequences through light, hands, and shadow.

Poetic and cinematic interplay of words versus action.

A self-portrait through the artist’s eyes and her cinematic instrument.

A quiet investigation of the camera’s aperture that draws attention to how we see, connecting the aperture of the still camera, the moving image camera and the human eye.