Installation view Carpenter Center for the Visual Arts 2024
Installation view Fridman Gallery 2025
Installation view Royal College of Art 2025
10 minutes
Four-channel video - digital video and 16mm direct animation with ink and river water, surround sound
accompanying eight-channel video displayed on used i pod touch
2025
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Like Trying to Hold Liquid approaches liquidity as both material condition and metaphor for digital life. Video, like water, exists in constant flux, held only by its container. Images drift across reflective surfaces where visibility becomes unstable, slipping between depth and surface, abstraction and recognition. Beneath the image lie invisible layers that remain difficult to perceive yet continue to shape experience. Technology appears here not as separate from the real world, but as its reflection: immersive, pervasive, and impossible to fully grasp. The work proposes another mode of engaging the moving image, one that is slower, meditative, and resistant to seamless flow - like trying to hold liquid.
Like Trying To Hold Liquid (Stills)
UV Prints of painted 16mm on Fabric
20 x 24 in. 50 x 60 cm. each 2025
4:21 minutes
Four-channel video with accompanying cyanotypes, stained glass frames, and UV prints on glass
2026
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To Be Frozen stages moments where motion collapses into stillness: videos freeze without ending, images fracture across reflective surfaces, and visibility becomes partial and delayed. Iceberg imagery, cyanotypes, and direct animation on 16mm film move between preservation and loss, foregrounding the unstable relation between image and world. Layers of UV-printed glass obstruct and refract the image, resisting seamless visibility and fixed interpretation. Rather than treating interruption as malfunction, the work inhabits freezing as a perceptual and bodily condition - a suspended state where meaning remains unresolved, distributed across fragments, reflections, and moments of drift.
17 minutes
Four-channel video, four-channel audio
2024
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Landscape of the Medium considers the growing separation between embodied experience and the environment under conditions of technological mediation. Across four channels of video and sound, landscapes dissolve into layered signals, reflections, and abstractions, foregrounding the reductions inherent in the translation of world into image. Within digital space, body becomes avatar, presence becomes interface, and sunlight becomes pixels. The work does not position technology outside nature, but examines how systems of mediation reorganize perception itself, producing a relation to the environment that is increasingly distant, fragmented, and disembodied.
3 minutes
Direct animation and digital video with sound
2025
Image of a Flame examines the unstable distance between an object and its representation. Through digital distortion and direct animation applied onto 16mm film, the flame is repeatedly transformed, obscured, and reconstituted as image. What appears immediate becomes mediated, filtered through layers of texture, interference, and material translation. The work approaches the flame less as subject than as a limit point for representation itself: an image that resists fixation even as the apparatus attempts to capture it. Between analogue mark-making and digital manipulation, the flame flickers between presence and abstraction.
From left to right: Red, Silver, Blue, Gold
Digital Photography, part of “Color Study” and “Computer” Series respectively
33 x 42 in. 48 x 107 cm. each. 2023
3:20 minutes
Video with Handmade Bark Frame, 16mm Direct Animation
2026
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Back to the Idea of Release draws a parallel between photography and photosynthesis: both are processes activated by light, transforming energy into material form. If photosynthesis converts light into sustenance, the work asks what photography releases into the world: what forms of attention, memory, and relation emerge through the act of image-making.
Created through direct animation on 16mm film and developed with natural materials including hibiscus flower dyes, the work layers floral imagery with ink, gesture, and obscuration. Images appear and recede through successive interventions, emphasizing transformation rather than representation. The film becomes a site of exchange where surrounding materials, light, and time are absorbed and reconfigured.
3 minutes
Three-channel video with sound (Marleigh Belsley embedded into textile panels (Olivia DiMichele)
2025
Hold Up The Heavens, The Dwelling Place is a multi-channel video and textile collaboration between artists Marleigh Belsley and Olivia DiMichele. The installation proposes the garden as a site riddled with duality and contradiction. The garden represents an idealized utopia, an abundance yet to come, and encourages tireless, unrelenting pursuit. Inspired by stories of the Garden of the Hesperides and the nymph who dwelt there, the installation references fairytale-like motifs of the golden apple and enchanted trees. Working with hand crafted mediums as textiles and animation, both artists consider how their practices serve as acts of gardening.