Kaiseisan Daijingu Ki Series (2025)
AI-Generated abstractions created with Midjourney. This series is based on photographs taken of trees at the Kaiseisan Daijingu Shrine in Japan.
Poetics of Mass Weighted Median Diameter (2018)
In this interactive work, I explore touch activated interfaces, which create virtual raindrops to be playfully dragged by the viewer. Created with the Unity Game Engine. Soundscape by Serge Ossorguine.
Prefabricated: Kandinsky-Safdie-Rothko-Klee (2024–2025)
This interactive touch screen work is written in p5.js. Each touch of the screen generates a trail of randomly sized rectangles, each filled with a different color and varying levels of opacity. Touches also trigger sound samples of differently pitched wood blocks. Rectangles randomly appear accompanied by soft taps of Tibetan bowls. The work references Kandinsky's Salon du Musique along with the work of other modernists.
Vanitas I - a Memento Mori (2021–2022)
“Vanitas” is a 3D animated, computer-generated digital artwork created with the Unreal Engine.Inspired by the Dutch Golden Age genre of still-life paintings this work evokes the transcience of life while referencing the tulip mania market which collapsed in 1637, suggesting parallels with today’s cryptocurrencies.
The Prerogatives of Power Series (2024–2025)
“The Prerogatives of Power” is inspired by Antonio Muntadas’ 1987 installation “The Board Room” and by portrait studies by Frances Bacon. It is a multi-screen installation that displays AI generated glitch portraits of political leaders from around the world as a warning of the use and abuse of power by autocrats.
Weights and Biases Series–/Imagine A Distinguished Professor… (2024)
In this series I explore the emergent biases of the Midjourney text-to-image AI-generation application. The prompt for each image began with /imagine A Distinguished Professor. It took repeated iterations to achieve diverse outcomes.
Rectangular Harmony Series (2023)
“Rectangular Harmony” is minted as an NFT on the Tezos blockchain and is programmed using p5.js to use random values so that each time the program runs, the code generates a new unique and novel arrangement of subdivisions filled with a random selection of colors similar to a palette used by Paul Klee.
COVID-19 Exterminator (2021–2022)
“COVID-19 Exterminator” is a free-to-play single player first-person shooter game. You must find your way through a maze of bronchial tubes while on a search and destroy mission to eleminate the COVID-19 virus.
The Split-Brain (Dichoptic) Interface: Thomas v. Hill (2014)
“The Split-Brain (Dichoptic) Interface: Thomas V. Hill” was part of the group show SLEUTHING THE MIND, curated by Ellen K. Levy, at the Pratt Manhattan Gallery. Inspired by the research into split-brain patients this new interface was also influenced by the development of stereoscopic displays and the writing of the surrealists. This work induces artificial cognitive dissonance, by targeting each hemisphere of the viewer’s brain with separate streaming videos creating a new enhanced aesthetic experience.
The Curious Cabinet of Persistence and Change (2017)
This installation repurposes a flat file cabinet to display animations of data visualizations and simulations of phenomena of persistence and change on time scales both long and short. By means of the physical interaction of opening each of six drawers the viewer frames the impacts of the Anthropocene.
The Good, the Bad, and the Perturbed (2016)
“The Prerogatives of Power: The Good, the Bad, and the Perturbed” is a multi-screen work where the viewer's motion disrupts and glitches videos of authoritarian leaders from around the world.
Push for Fire (2011)
“Push for Fire: An Homage to Jim Dine”recalls paintings by Dine featuring men's apparel. A video displays a man's suit jacket. When the button is pushed the jacket bursts into flames. This work confronts and invites the viewer to indulge in the transgression of the taboo of a “false fire alarm”.
Decline and Fall (2004)
“Decline and Fall” is an interactive installation inspired by Robert Smithson's Spiral Jetty. The viewer's hand motion triggers water droplets, causing the erosion of small 30" high sand obelisks.
Suprematist Composition (2006)
“Suprematist Composition” features a porthole displaying an image of a cross at the bottom of a pool. When opened, different videos of swimmers and divers play.
Touching the Sacred and the Profane (2007)
“Touching the Sacred and the Profane” is an interactive touch sensitive work that recalls the act of touching as a sign of religious devotion while inviting the user to interactively create a mash-up of religious streaming videos with “Bollywood” music videos.
Surface Tension (2003–2004)
“Surface Tension” features three chemistry flasks slowly dripping water onto miniature sand obelisks which partly collapse during the exhibit.
Genderbender (1997)
“Genderbender” is based on the Bem Sex Role Inventory Index (BSRI). The self-reported 60-item survey is reformatted as a game 20 questions with a audience sound track. The game characterizes a player as masculine, feminine, or "androgynous."
The Smart Stall: The Hegelian Master-Slave, Duchampian Telecommunications Inteface. (1997)
“The Smart Stall” was an interactive installation featuring two non-working toliet stalls connected with a T1 line. Each stall had a smart board and the "user" could write grafitti that would be projected inside the remote stall. Virtual disemobied voices would shout orders to the “user” (“hurry up already!”). The Smart Stall served as a warning of the intrusive surveillance of technology.
The Automatic Confession Machine: A Catholic Turing Test (1993)
“The Automatic Confession Machine” is fabricated to resemble an automatic banking machine. Silicon absolution is computed based on selections from a menu of the Seven Deadly Sins and the Ten Commandments. Inspired by memories of the Sacrament of Confession, this installation also refers to the now famous Turing test (“the imitation game”) for artificial intelligence.
Labyrinthos (1983)
This instantiation of a physical labyrinth was motivated by an interest in the definition of paths, pattern, and networks. The rational articulation of space is contrasted to the indefinite, 'irrational' depiction: the comprehensible with the incomprehensible. The problem is the same for the graphic artist, the architect, the writer and the composer: how to break up space and time in order to maximize the interest in and the comprehension of the layout, the story, the environment or the composition. The metaphor of the labyrinth again contrasts the opposition between the rational and the irrational.
1340-43 (1979)
“1340-43” references the focal length of the lenses of the ellipsoidal spotlights used to illuminate a three dimensional composition made of stretchable white fabric (spandex). This abstract composition invites the viewer to explore and be enveloped by the slowly changing light that progressively illuminates and articulates forms with analgous and then complimentary colors resulting in secondary and tertiary mixing. A projected grid with distortions of chromatic aberations culminates the experience.
A Portrait of Vlada Petric: After Ingrès (1998–2000)
Vlada Petric’s personality(film maker, actor and founder of the Harvard Film Archives) conjured up Jean Auguste Dominique Ingres’ portrait of Louis Bertin. Included in "Ingrès et les Modernes" at MUSEÉ INGRÈS in Montauban, France in 2009, that exhibition featured the work of nearly 100 artists inspired by Ingrès. The exhibition was curated by Jean-Pierre Cuzon, Director of the Department of Painting at the Louvre (1973-2003) and Dimitri Salmon.
Cynthia and Richard: After the Fall (1988)
In the early eighties I experimented with digital paint systems to directly “frame grab” a subject. Limits in resolution led to cutting & pasting multiple points of view together not unlike the analytical cubism of Picasso and Braque or similar to David Hockney's method of Polaroid collage portraits.
Ted & Liza (1989)
With this work I varied the pixel resolution to create an artificial depth of field that mimics the discrete movements of the eye called saccades. The eye foveates or fixates on regions of high-resolution detail and performs a dance of perception. Not only our eyes move but also our entire bodies are engaged in looking at details or seeing the whole.
I design playful, interactive, computer-based installations using video game engines. Over the years my creative production has ranged from digital prints, interactive installations, and published research that explore the intersectionality of identity, gender, belief, and the collision between the real and the virtual. I've presented my work and research in Canada, UK, France, China, India, Australia, Russia, Austria, Singapore, and Turkey exhibiting at in venues such as the Victoria and Albert Museum in London or at Tech Fest in Mumbai. My work has been written about in publications such as Wired Magazine and the National Geographic Magazine. I currently hold the appointment of Professor of Game Design & Development at Quinnipiac University where I founded the Game Design & Development Program in 2010 and I have also served as Chair of the Department of Visual and Performing Arts. Other appointments include Associate Artist of the Digital Media Center for the Arts at Yale University (now the Center for Collaborative Arts and Media). Prior to joining Quinnipiac University, I was Chair of the Department of Design Art at Concordia University in Montrèal. From 1983-85 I was a Fellow at the Center for Advanced Visual Studies at MIT. Previously I worked in the games industry for Parker Brothers and Spinnaker Software.
I live and work in Hamden, Connecticut. Contact me below.
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