DiElectric Drift

Earl Williams is a dreamer teenager obsessed with monsters, who fantasizes his life as if he were living in the world of the monsters of Universal Studios. Although being an excellent student, his intolerant and nasty school teacher Mrs. Perdue does not like him and punishes him for any minor fault. His supportive father Les Williams is also a dreamer, who has never been successful in life. When his father dies, his mother becomes lost with two boys, and tries to change the behavior of Earl. One day, the boy finds the "true Frankenstein" lost by a Carnival, and decides to bring the monster back to life.

Set in modern times, Alex finds King Arthur's sword Excalibur and must prove himself worthy of it.

Wasteland Utopias explores the intersection of two radically different utopian thinkers: mega-developer Del Webb and outsider psychiatrist/naturalist Wilhelm Reich. Each found his way into southern Arizona's Sonoran Desert in the late 1950s—Webb building his colossal, panoptically-planned retirement community Sun City and Reich conducting his weather manipulation experiments using Orgone Energy. Using found footage, documentary interviews, and narrative tableaux, the film interweaves contradictory narratives and critically poetic observations.

The Graceless is a video tapestry of digital and analogue artifacts rephotographed and collaged from discarded 16mm educational films, Air Force test footage, live broadcast streams of pre-invasion television news and reality entertainment.

REVOLVER incorporates diary observations, found and physically manipulated images as well as experiments of shooting through handmade pinhole lenses. This film is an attempt to come to terms with the isolation and displacement that confronts the contemporary urban dweller; a personal journey through social, physical and psychic landscapes that are both beautiful and tragic. Light motivates growth and decay. Abstractions push and pull in the passage of time toward an exceedingly anxious future.

"Fragments of unidentified and yet strangely familiar films, pregnant with allusion and implication, drift into one another, obscured by the haze of rephotography, electricity and the residue of (al)chemical formulae, renamed time and memory. Tuning the Sleeping Machine resurrects the cinema projected on the unconscious, a series of images defined by the gaze of an eye, the presence in an empty room, the creeping darkness that shrouds a strange face." - Brian Frye

A FLUXUS inspired performance framing of Yoko Ono daily caught on film in January of 1969, extracted sequentially from Peter Jackson’s film Get Back (2021) from footage originally directed by Michael Lindsay-Hogg.