Samples of Work

Artistic work and curatorial projects.
A portfolio of Student Work, my Artist’s Statement, and my Teaching philosophy can be accessed from the menu to the right.

Experiments in Reductive Video

This body of work entitled “Reductive Video” borrows the choice to depict changes in movement (either as individual frames or wholly contained in a single image) and applies it to the technical rendering of images… (read the full project statement)

Mirror Minus employs visual analysis of live video footage; changes in color are continuously rendered on a pixel-by-pixel basis to create a projection, which re-presents, mirrors, and documents the participants’ impacts upon the space.

Yoga in the Gallery

Mirror Minus
documentation of “Yoga in the Gallery” and captured still
Rosewood Art Center, Kettering, OH

Mirror Minus
12’ x 9’ (projection)
Interactive Installation

For Love represents the reduction of a video into a single print. Changes in motion and movement are layered to create impressions of these on-screen activities. The source material for this exploration was appropriated from online amateur pornographic video-sharing websites.


For Love
84” x 40”
(15 images each 13.6” x 10.2”)
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK

For Love (089-b)For Love (071)

For Love (089-b), For Love (071)
13.6” x 10.2”
(details from For Love )
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK
additional detail images

After Muybridge, After Marey is an homage to the work of Eadweard Muybridge, Étienne-Jules Marey, and Thomas Eakins, bringing their ideas into the 21st century by highlighting the changes in motion and movement as experienced and recorded by technology.

After Muybridge / After Marey

After Muybridge, After Marey
Dimensions Variable
(images depicted are at 24” x 13.5”)
Video Loop & Archival Inkjet Prints on Uncoated Rives BFK

Exhibition loop from “After Muybridge / After Marey”

TRT 3:29
Video Loop

For Love (071)

Female Cyclist – Left Lateral View, 2009

21” x 11”
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK

additional detail images


Pixel-Lapse combines the temporal nature of long exposure photography and the precise organization of the digital matrix, creating an image one pixel at a time.
(Pixel-Lapse images created by visitors to the exhibitions and at home available at


Pixel-Lapse Photo Booth
documentation: MICA, Decker Gallery 2009
Dimensions Variable
Interactive Installation (computer, webcam, monitor, Arduino & electronics, printer)

Pixel-Lapse Photo Booth
2008 / 2009-present
TRT: 2:00
Video documentation of the Pixel-Lapse photo booth installed.

Chicago Ohare International Airport - Gate B8 looking North, 2 February 2008 1280 x 960 @ 1000 px./sec 20 min, 37 sec

Pixel-Lapse Prints

Chicago O’Hare International Airport – Gate B8 – Looking North, 02/02/08, 1000px/s
9” x 12” (framed 14” x 17”)
18” x 24” (framed 22” x 28”)
pixel-lapse (experimental digital process) / Archival inkjet print

additional pixel-lapse images

Internet Meme Flip Books

The Internet Meme Flip Books aim to place popular internet memes in the hands of viewers. This project explores the history of the moving image contrasted with the ubiquity of internet materials.

Internet Meme Volume 1

Dramatic Chipmunk
4″ x 1.75″ x 1.25″
Hand-bound flip book printed with Dr. Mike Ware’s “New Cyanotype” on Fabriano Artistico.

additional flip-books

Internet Meme Flip Books

Gallaudet University, February 2014

Curatorial Projects

Hughes Remix

The re-presentation of archival images in part or as a whole has become a standard in contemporary photographic practice. Methods are as varied as the artists themselves from Rauschenberg’s inclusion of media images in his prints to Levine’s re-appropriation of FSA photographs and from Fontcuberta’s insertion of himself into archival images to Umbrico’s excising of images from the collective archive.

In conjunction with the 2014 SPE National Conference theme “Collaborative Exchanges: Photography in Dialogue”, The Special Collections Department of the Albin O. Kuhn Library & Gallery and the Department of Visual Arts, at UMBC offered the images of the Hughes Company Glass Negatives Collection for reinterpretation and reinvention.

Construction: 1922 / 2011 - created with images from the Hughes Collection, University of Maryland, Baltimore County.

Construction: 1922 / 2011
created with images from the Hughes Collection, University of Maryland, Baltimore County.

Full archive of images and project description at the Hughes Remix Tumblr:

This work has been accessioned into the UMBC Albin O. Kuhn Library & Gallery Digital Collections:

A short article about the Hughes Remix project was included in Socially Engaged Art Journal. April 2014:

Palimpsest logoPalimpsest

A Washington Project for the Arts Coup d’Espace project
curated by Steven H. Silberg and Neil C. Jones

October 12 – November 29, 2012
2023 Massachusetts Ave, NW, Washington, DC

In the tradition of the palimpsest, those pieces of parchment and vellum (scraped clean for reuse) promise that something once existed beneath its contemporary surface. Yet, only through technological investigation is that promise realized. Palimpsest asks its viewers to consider the scriptio inferior (the sub-text or in this case, perhaps, the imago inferior—the sub-image) of the black and white graphic applied to the stripped-clean surface of an original artwork.

Exploring Julee Holcombe's image at Palimpsest

Exploring Julee Holcombe’s image at Palimpsest

participating artists,
additional exhibition images,
link to the catalog & statement