My practice deals primarily with movement as both medium and concept. Often employing figures of animals and my own body as the subject of the work, I make both videos and moving objects which have been described as existing somewhere between cinema and automata. I am interested in what I consider to be the mimetic relationship that lies between the mechanical video apparatus and the somatic figures it propels forward. In what ways do the modes of spectatorship come to inform the conditions of motility: the spontaneity of movement and the perceived thresholds between the animate and the inanimate? How can the video apparatus itself point toward the mechanisms of causality and reveal its own dormant animality? I suppose my work attempts to address these questions under the guise of a technological conundrum. I often pull apart older obsolete media devices in order to find some kind of internal idiosyncratic characteristic that can be closed, repeated, and looped. In this way the video apparatus does not simply play the moving image but rather performs for the viewer, prompting the viewer to actively interrogate the apparatus and (perhaps) ultimately embody the source of the moving illusion.