'There Goes The View' documents the gradual disappearance of an incredible view I once had as it becomes eclipsed by the construction of new apartment buildings. Time-lapse cinematography spanning almost two years is inter-cut with real-time details of the work. Man's efforts are relatively small in the larger scheme of things however, as time and nature will eventually prevail.
Credits: Writer, Producer, Director, Cinematographer, Editor.

A man is tormented by his fear of beards in this dark absurdist comedy. The beards are at first ridiculous and funny, but become strange and threatening as we experience them through the nerves of our hero. Featuring a voice-over by famed Texas musician James McMurtry. Shot on location in Brooklyn NY.
Credits: Writer, Producer, Director, Cinematographer, Editor.

Informational Documentary about the process of blowing-up small gauge films to 35mm. Comissioned by and featuring Cineric Lab in New York City, a lab specializing in film preservation, blow-ups and opticals. Shot with Super-8 sync sound on location in New York. The music is made from sound of the Oxberry optical printers featured in the film.
Credits: Co-Director, Cinematographer, Editor.

A road trip through the Sahara desert, without the road or the car. A lyrical journey about riding camels and travelling through desert dunes and ancient alleyways. Shot on location (and atop a camel) in Tunisia.
Credits: Director, Cinematographer, Editor.
Award: Bronze Award, Experimental Film and Video, Houston Worldfest.

Nostalgic musings of a cowboy, dreaming of rodeos and drive-in movie theaters. I shot the 35mm color footage with my DeVry hand crank camera and the B&W 16mm reversal footage through a lens that I made.
Credits: Director, Cinematographer.

Looking like an industrial landscape of the 1930's, the towering elevating bridges on the South Side of Chicago are an engineering masterpiece. Their architecture dances, sways in the wind, and we lean over the edge at the top to peer all the long way down to the Chicago River below.
Credits: Director, Cinematographer.

An abstracted vision of visceral longing expressed through extensive image manipulation. The emulsion tears and colors seethe. Through temporal and chemical shocks to the emulsion through hand processing, solarization, optical printing and filtration, a painting results of the pictures that appear inside one's head.
Credits: Director, Cinematographer, Optical Printer, Editor.
Awards: Honorable Mention, Ann Arbor Film Festival; Pre-Screener's Award, Onion City Film Festival.

Black and white imagery explores the human body as a living creature. Confusing gender and abstracting the body to get beyond objectification, the film strives to reach an unabashed apolitical appreciation of the human animal.
Credits: Director, Cinematographer, Optical Printer, Editor.

Originating on the narrow streets of Spain amid the cacophony therein, our hero heads out. The gutters of Paris are explored where water routing rolled carpets are investigated and their images collected. We travel by train through the no-man's land of East Germany, the guard towers looming. Tunnels and wet roads later, we arrive to reach the landscape of the amazing and beautiful dust-bunnies underneath the bed.
Credits: Director, Cinematographer, Editor.

The clouds seen while flying, Chickens come running in Wyoming, riding around Berlin on a bike, bathing in a tin tub, Peter dances and runs around in the snow, naked bodies writhe in B&W, creek water, and more colliding imagery of Wyoming and Berlin.
Credits: Director, Cinematographer, Editor.

We journey through deserted spaces on the lower West side of Manhattan. People start to appear and as they do the sound track becomes alarming. The people are replaced by representations thereof, abstractions. We end in a basement, where through animation of B&W photographs, the camera approaches and then passes a naked figure, to disappear into a hole in the floor. I created a completely original electronic music/musique concrete soundtrack for this film, which provided the inspiration.
Credits: Director, Cinematographer, Editor.
Award: Settie Leehman Fatman Prize for Music Composition, Smith College, Northampton, MA

Music video for Dallas Hip Hop band Joint Method. This film features hand processed 35mm B&W footage, which I then added colors to, creating an organic, earthy effect. Another 'road movie', this film takes us through the canyons of Lake Powell and the deserts of California. I was one of Seven artists asked to create works to songs by Joint Method, the works intended as large background projection for live performances.
Credits: Director, Cinematographer, Editor.

Powerful images of women and girls from varying ethnic and socio-economic backgrounds are represented with dignity and individuality, embodying the universality of Dallas Women’s Foundation. Produced through Women in Film Dallas
Credit: Director.

One commercial focuses on piercing specifically, and the related safety and hygiene issues; the other is a collage piece on piercing and tattooing at that particular shop.
Credits: Writer, Director, Producer.

Promo piece for adventure horseback rides in Wyoming. Commissioned by and featuring the proprietor, principal cowgirl and wrangler, Belinda Daugherty. Shot on location, (and on horseback) in Wyoming.
Credits: Writer, Producer, Director, Videographer.

Spec. commercial for Wrangler Jeans featuring Ten Sleep, Wyoming Rodeo participants, at the rodeo and in the bar. Shot on B&W 35mm film, some hand cranked, which I then hand-processed.
Credits: Director, Cinematographer.

Spec. commercial for Bass Ale, shot in Brooklyn, NY, Pittsburg, PA, and Chicago, IL. I hand processed the 35mm B&W film, and physically animated the text onto a piece of film. As below, I shot the 35mm footage with my hand crank camera and the 16mm footage through my home-made lens.
Credits: Director, Cinematographer.

at a bar)

prostitute…a common role for women it would seem.) where I was the only talent who could NOT dance the tango – I did my best to fake it.