My creative practice is aimed at revealing the underlying or unexpected aspects of videogame structure that may not be apparent during regular game play. There are three trajectories I use in this ongoing investigation of videogames: existing games are used as a basis for artworks that amplify play-conditions; existing games are directly interrupted, subverted or adapted (through computational means or game-based performance); artworks theorize a new game environment -or- approach to game play altogether. Additionally, my research questions the culture of gaming—expanding the perception of the gendered nature of these spaces--and imparts the emotional impact games can have in/on real life.
Are videogames an art form? Despite a vibrant indie-game design community, the videogame industry is highly market-driven which may problematize a perspective that games are a form of art. Related to investigating game mechanics, structure, and design, I’m also attempting to expand the definition of what games are, what ‘counts’ as a game, and why games are important, individually but more so collectively.
Edge Effect + DIY Aesthetic
When two drastically different landscapes border one another (a forest and a meadow, for example), the biodiversity along the boundary of the two terrains is highly diverse; more diverse than in each terrain independently. In ecological terms, this is known as an edge effect. I regard the bordering or intermingling of sculptural and digital materials and processes in my installations as producing a kind of edge effect. The bordering terrains aren’t a forest and a meadow, but rather are the disciplines of Sculpture and New Media. Like an edge effect, I hope to expand audience perception of the artworks, but more importantly Sculpture and New Media disciplines, through the influence of the bordering, disparate medias and processes.
Formally-influenced by folk art and DIY maker culture, my interactive artworks and installations are designed and fabricated towards what is comforting and inviting for the viewer. Works are intentionally imperfect (and all-together human), and pathetically optimistic. Material choices are commonplace (cotton, pine, paper), processes are handspun and homemade (quilting, papercraft, woodworking, screenprinting). Digitally-produced objects or images are glitched, databent, and intentionally made imperfect. Even electronic components are humble—webcams, DIY haunted house electronics, personal/practice amplifiers, etc. In the interests of expanding what constitutes a game, and what games can be, I actively subvert the slick, pristine façade of contemporary gaming objects and devices.