Screensaver #1

Direct animation with stained-glass contact paper, ink, and acetate.

Made entirely by hand from cut marbled paper, this odyssey of remnants re-imagines a dream-sequence love.

A choreographed motion study for twinkling trinkets, beaming baubles, and glaring glimmers. A bow ballet ablaze (for bedazzled buoyant bijoux brought up to boil).

A shiny otherworld of holographic reverie pairs dollar store gift bags and haunting resound, unfolding an effervescent melancholy in three parts. Mesmerising RGB bling-bling for the cinema, featuring compositions for bowed vibraphone by Elliot Cole.

A kinetic journey through the graphic motifs of textiles paired with figures and landscapes to explore the technological development of fabric production and consumption alongside systems of visual and spoken language. The piece investigates recurring graphic symbols and how their cross-cultural appropriation functions within a global economy.

A bite-sized star punch exercise in direct animation with colored acetate.

A quilted call and response. A battle of extreme extremes.

A swimming study of paisley patterns traces this decorative motif from its origins in Persian weavings to appearances Irish quilting and American Counterculture. Extending on the stroboscopic tradition of anti-animation, this short material study fixates upon discarded materials to examine the decorative and its relationship to the cycles of industry and evolving modes of production. - Jodie Mack

A stroboscopic dance party.

Hollis Frampton's T-Shirt Collection - animated!

Colors and bubbles bustle energetically via oil, ink and clear acetate.

A collaboration with Chicago’s Judson Claiborne that captures the desert hallucinations of David Morehouse, former CIA spy and author of Psychic Warriors.

A pattern parade followed by calm.

Discordant dysfunction down to the nitty griddy.

Tacky threads luminesce at a firefly’s pace, twinkling through remnants of chintzy opulence and gaudy glamour prestissimo brilliante.

Ultraviolet culminates a body of work (collage, animation, and pre-cinematic optical toys) that glows under blacklight, uniting my previous work in posters and textiles with my ongoing sublimation of art and craft. Somewhere between psychedelic posters and neon-stained glass windows, each quilt mourns a loved one who experienced addiction before their death. The flat quilts and screens seek impossible comfort. The patterning of collages echo the [de]formation of habit, central to the experience of addiction, not just to substance but labor itself. The repetition of the circular discs (phenakistoscopes) and looping animations relapse on repeat. The still works provide the basis for “animation”: exuberant yet mournful in pace, animating life and also grief. From fluorescent rocks in Franklin, N.J., to the glow décor aesthetics of Party City, Ultraviolet is a collision of the real and replica, revealing the vast unseen complexities of the human experience, what is invisible to the sun.