10 min
2025
Video is liquid. In constant flux, it can only be held by its container.
Video is a reflection. Beneath the image’s surface lies invisible layers we may not fully perceive but are nonetheless there, influencing us.
When we interface with technology we become submerged in its interconnected web of impact on ourselves, society, and the environment. It is no longer possible to remove ourselves within our deeply embedded position.
Can searching for the tipping point – moments where the apparatus of video reveals itself – allow us to perceive its layers of influence and perception, broadening the distance between object and image?
Video offers an opportunity to look closely and listen deeply. We are submerged, and the only way out is through. This piece offers another mode of engagement with video - one that is meditative, slow paced, slipping away yet within reach - like trying to hold liquid.
3 minutes
2025
What is an image fo a flame? Images from screening at Genesis Cinema March 2025 London, UK.
2:40 minutes
2025
Direct animation - painting 16mm film frame by frame - is an intentionally tedious, labor intensive, yet messy and haptic process.
The technique traces back to 1920s experimental film, but has a lesser-known history as a means for women to branch outside of textile work despite confining gender roles of the time. While rarely credited for their work, most pioneering experiments in direct animation were born out of women applying textile practices to analogue film material.
Marleigh’s use of direct animation is a conversation across time as she considers her relationship to matriarchal legacy on personal, historical, and deep time scales. Her scraping, painting, and splatting onto analogue film becomes an homage to female animators who have also been underrepresented in film history. The resulting abstract, cameraless film calls attention to the materiality of film as a means of representation.
17 minutes
2024
A four-channel video, four-channel audio installation on how technology has disembodied the human experience, and thus severed our relationship to the earth.
The installation constructs a digital atmosphere that raises a microscope to the processes through which nature is converted to the screen.
Screened at Harvard CAM Labs and Installed at the Carpenter Center for the Visual Arts.
Live electronics, vocal processing, and audio responsive visuals generated using Max MSP.
Pictured: performances of “Brainwave 9999” and “Black Hole.”
Work featured on Montez Press Radio “AfterSense” show March 2025.
8 minutes
2022
Nature v Nurture explores the relationship between the natural and online worlds as it relates to the human experience. The piece heavily distorts video and audio using filters I coded in Max MSP Jitter.
Made as part of “Contemporary Music Production and Critique” at IRCAM (Institut de Recherche et Coordination Acoustique).