Ridethrough

Digital memories compress, become eternal blue.

Eight burning suns rise and fall over a fractured America where digital ghosts, abandoned landscapes, and unstable symbols drift through an endless cycle of decay and renewal. Shut-ins linger at the edges of contemporary life while a solitary avatar embarks on a journey across deserts, suburbs, cornfields, casinos, and simulated worlds, searching for meaning amid the ruins of an image-saturated culture.

A digital protopersona occupying an industrial surveillance network drifts into sleep. Its ravaged and bleak techno-militaristic surroundings are reprocessed and regurgitated as the being imagines a pastoral future.

Closed-eye gaze; nothing in particular; animated expressions plastered on digital ghosts. There are scrawled notes posted on trees. There is someone watching from beyond the field of view. Lightless visions; floating heads; walking once again down an unfamiliar path.

Collectively authored cut-for-cut remake of the 1929 film of the same name through the lens of internet-based aesthetics. Drawing a lineage from the experiments of Soviet montage to contemporary trends such as sludge content, desktop documentary, corecore, and database cinema, Man with a Movie Camera (2025) attempts to reinvigorate the popular avant-garde project of a universal cinematic language which was originally developed almost a century ago by Dziga Vertov and The Kinoks.

Children observe a man dying through a screen.

virtual forests, aimless wanderer. unreal engines and anatomies.