Sightline sprang from repeated careful viewings of the Super 8 footage that my father shot. It is an attempt to forge my own understanding of and relationship to the troubled history and tropes of race-relations in the South.

Stranded is an investigation into memory, place and loss. Through it I revisit the streets and surrounding agricultural land of a small Central Valley town where I was stranded nearly twenty years ago as I drove from Los Angeles to San Francisco on the last leg of a move across country. I am glancing back with a different perspective, both personally as well as from a cultural, climate and historic standpoint.

Speed is a meditation on memory. Distance and speed are two of the variables in the formula for uniform motion. The other variable is time. This formula is a way to calculate a journey – how long it takes, how fast you get there and how far you travel.

Distance is a meditation on time and aging. It engages questions about the distance or proximity that exists between us as individuals and between one to their natural surroundings. It is intended as a timepiece that uses rhythm along with visual and aural cadence to reflect on life cycles and the interconnectedness of those cycles.

My grandparents lived and farmed on a small rise in the Piedmont Region of North Carolina. From their front porch you could see the neighboring farm on the next hill. Ms. Irmie lived on that farm with her husband, Guy. I have always remembered the murmurings of a curse put on our family by Ms. Irmie, a curse that was supposed to keep the women in my family from being happy in their relationships. I asked my aunts, sister and female cousins to recount their version of the curse to me, but no one seemed to remember anything about it except my mother and me. Ms. Irmie’s Curse explores that family lore and how, whether or not it is true or ever even happened, the suggestion of its complex narrative continues to unfold.

Family histories are thrust upon us, but we can choose how we want to remember them. Through the objects I have selected to carry with me through the years, I have generated my own version of family history. Keeping Time engages these talismans of memory and the stories that they hold, the secrets they might be keeping and the time that they have captured like so many fossils in stone.

Captive was made as a way of thinking about being inside and how the outside leaks in, mostly in the form of light and sound.