Overview
My research operates through two interconnected strands: independent studio practice (durational video works, remakes, text-based internet pieces, and writing-as-drawing projects) and Loop Art Critique (an artwork and critique platform built on spatial web infrastructure). These strands share an interest in how artistic work changes when it stays active over years, how platforms can function as artworks rather than just infrastructure, and how questions of access, identity, and time reshape what it means to make and share work. As part of a Tier 1 Research University, I use these strands to examine how artistic methods move between media and contexts, how "in-progress" can be both form and methodology, and whether the systems we build to support art-making are themselves research objects.
Strand One: Independent Studio Practice
This strand includes my studio and internet-based artworks that I develop outside of Loop. The work is organized into long-term bodies that share an interest in time, repetition, and how projects change when they stay active for years (or when they are remade years later).
Video Drawings are durational actions filmed with a stationary camera that record a drawing being made in real time (for example: rolling down a hill, hands drawing shadows, a moving figure in a white space). Production of new Video Drawings has slowed because this body of work evolved into Repeats, which remakes video works from more than a decade ago using new technologies, new materials, and my aging body; exact replication is not possible, so the attempt becomes the subject.
My text-based internet works extend this approach into online formats. Walk Cycle is an ongoing piece where AI-generated female figures walk alone while an AI generator tells autobiographical stories in the first person across past, present, and future; it is designed to accumulate over time rather than resolve as a single finished "edition." Concurrent Notes treats writing as a studio practice and a record of daily life: these notes are exhibited as an ongoing chronicle, and the website version builds a narrative around the fragility of sketchbooks through a real loss of hundreds of my sketchbooks, with new scans added on a monthly rhythm.
A smaller but related body of work uses exchange as a structure. My "Generative" NFTs mint sketchbook pages made at conferences and talks; the collector receives the physical drawing, and a recorded conversation becomes the starting point for the next drawing in the cycle.
Five-year goals (Studio Practice)
Years 1–2
- Increase exhibitions and screenings of Video Drawings, Repeats, Concurrent Notes, and Walk Cycle (prioritizing opportunities that fit a full-time teaching schedule).
- Pursue one summer residency per year when feasible (priority list: Anderson Ranch, Skowhegan, Onassis AiR, The Studios at MASS MoCA, MacDowell, Bemis Center, Camargo).
- Use residency time to generate new material that feeds both exhibitions and the next phases of the ongoing web works.
Years 3–4
- Continue annual residency applications (with the option to substitute a shorter, local, or project-based residency if needed for sustainability).
- Build toward one major solo exhibition that brings these bodies of work into a single frame (Video Drawings/Repeats + Walk Cycle + Concurrent Notes).
- Create stable documentation packages for each body of work (images, video excerpts, short texts, and installation notes) that can support venues, press, and future publication.
Year 5
- Complete a final residency within the five-year arc (or an equivalent protected studio block).
- Produce a retrospective assessment of how each body of work changed over the five years (what expanded, what paused, what was remade, what stayed ongoing).
- Publish a set of short, research-facing texts drawn from the studio work (for example: process notes, a project essay, and one peer-reviewed submission if appropriate).
Strand Two: Loop Art Critique Platform
Loop Art Critique is an artwork and critique platform that facilitates dialogue around in-progress work using digital tools. It is presented in partnership with ICA Miami through the Art and Research Center and is hosted on Onland, a spatial internet environment created for MUD Foundation. Loop operates through Open Calls and rotating Guest leadership. Sessions are designed for artists to share work without the pressures of large social media platforms or the market.
Loop addresses several interconnected problems: geographic and economic barriers to accessing quality critique; the difficulty of maintaining anonymity or controlling identity presentation in art discourse; and the lack of compensation models for artists participating in peer critique. The platform uses spatial web technology (immersive XR web environments) to create meeting spaces that feel different from Zoom or Instagram, and it builds structures for artist payment through Loop Studios (a model where collectors commission work and a portion supports platform operations).
Five-year goals (Loop)
Year 1
- Advance infrastructure and accessibility goals, focusing on tools that allow artists to participate without exposing identity.
- Begin development of voice-changing and anonymity tools (pursuing grants, sponsorships, and donor support to cover developer costs).
- Maintain ICA Miami partnership as the central visibility and institutional context for Loop.
- Pursue initial funding applications (Knight Foundation, other Miami arts/tech funders) specifically for identity protection technology.
Year 2
- Expand Loop Studios revenue model to sustainably support developer costs and artist payments.
- Build a rotating roster of Guest critics in underrepresented time zones (Middle East, Asia, Australia, New Zealand) to make Loop accessible beyond North American and European hours.
- Develop critique formats that support both live participation and asynchronous contribution (recorded feedback, text responses, image annotations).
- Document Loop sessions systematically (transcripts, recordings, anonymized case studies) to create an archive that can support future publication.
Years 3–4
- Implement identity protection tools so artists can fully control how they present (voice, name, avatar, biographical information).
- Run a sustained international critique schedule across multiple time zones with consistent Guest leadership.
- Build partnerships with other institutions (art schools, residencies, alternative spaces) that want to integrate Loop into their programming.
- Create case studies of Loop as a research methodology—how does critique-as-artwork differ from traditional academic or studio critique models?
Year 5
- Assess the five-year impact of Loop as both artwork and research infrastructure (how many artists participated, what kinds of work were discussed, what barriers remain).
- Prepare a peer-reviewed publication on critique as networked practice, drawing from the documentation archive and case studies.
- Explore Loop's potential replication or adaptation at other institutions (what parts of the model are transferable, what stays site-specific to Miami/ICA/MUD).