2009
Skin Response, December 2009
A participant places one finger on each of two copper electrodes.  This allows the system to measure changes in skin resistance between the two fingers, using a method known as Galvanic Skin Response (GSR.) Changes in GSR trigger the playback of recordings of specific words from a text and change the way the device draws on a strip of paper. The language affects awareness and perception of the body, while attention drawn to the body to affects the way that language is understood.

Headlights, November 2009
Installation in which words are triggered by changes in light levels caused by headlights of cars driving by the windows. When cars pass outside and sound and shadows naturally fill the room, a torrent of language is also projected onto the wall. When no cars are present, a few words are repeated over and over.

Loupehole, August 2009
In collaboration with Liz Ainslie. Users place the device atop objects in the room. Every object causes a different, specific drawing to be revealed on the screen. The device, which resembles something used for viewing objects more closely, actually assigns a new value to the object beneath it. In the viewer's mind, both the objects and the drawings are inevitably affected by a perceived relationship to each other.

Wind Spinners, January 2009–present
Turbines and electronics performing persistence of vision cause words to appear in a trees. Depending on the speed of the wind, the turbines display different words from a text. As with the other text pieces that I am working on, sensor data reflects organic patterns and imparts specific rhythms to the language. Conveying a message becomes less important than accidental repetitions and slippages of meaning.

2008
Who is Making Art?, November 2008–present
A wireless sensor transmits my heart rate to a microcontroller that triggers a digital camera. When my heart rate is comparatively high, the camera takes a picture. The camera and sensors are hidden in a lightweight vest, which can be comfortably worn for long periods of time. The project allows me to research the relationship between heart rate and emotional and aesthetic experience, but does not presuppose a specific relationship.

Freese's, December 2008
This installation was a collaboration with Gabriella D'Italia and part of a show that took place in the vacant spaces of the building that housed Freese’s department store, in Bangor, Maine, from 1892 to 1985. In this installation, we aimed to connect the physical state of the building to ideas about history and memory.

Escalator, December 2008
When asked about Freese’s Department Store, many people remembered one of the first escalators in Maine, built in 1955. This monitor, displaying an image of the Freese’s escalator, was installed at the top of flight of steps, between two floors of the exhibition. For each visitor who ascended the stairs, an image of a person from the sixties could be seen riding the escalator, allowing viewers to imagine a relationship between the sounds of approaching people and apparitions on the monitor.

Souvenirs From Dreams, October 2008
Walk past abandoned laboratories, half finished experiments and strange scientific apparatuses, to find a door labeled “Souvenirs from Dreams.” The door is locked. On the shelf beside the door, sits a book and a hand held voice recorder. Listen to a strangely impossible story. A code is revealed. Open the door. Weigh the objects on the table.

The Unspeakable, October 2008
A poem.

Maps, March 2008
Hand drawn maps can indicate how a particular person imagines and represents space. I placed boxes around town asking people to draw maps to their favorite places in Bangor. This compilation shows similarities and differences in mark making and drawing, as well as concepts of space and how cities are experienced.

2007
Mirrors, December 2007
In this installation, mirrors attract or tune in video clips. If the mirror is held steadily, one clip will be projected continuously, following the mirror through the space. When the mirror is tilted, new clips begin. Ambient sounds are also affected. The fine muscle movements involved in keeping the mirror level evokes the concentration needed to follow one strand of thought or conversation. Sweeping movements relate to scattered attention, contributing to the overall rhythm of all of the voices and sounds.

Conversation, August 2007
Using a drawing tablet, a viewer draws a path through multiple layers of conversation. Pressure on the drawing tablet causes the line to vary in width and the video to become lighter and darker, fading out completely when the user stops drawing. The layers were constructed from recordings of interviews, organized by theme. The themes range from ideas about what people imagine when speaking, to how technology and culture affect communication.