It seems that your installations are very complex, how do you build them?

Each installation has an approach unique to the space and often the space itself is my impetus for research before I even conceive of what the video or film or installation will contain. I typically collaborate with architects but also with various kinds of people: composers, programmers, metalworkers, textile designers. For instance for the LED panels in Coorporealities we had to devise how to hack the technology to make it function in a way contrary to its design For the floor installation and self-playing piano in Interpassivities, it involved set designers and also someone with a knowledge of sound programming. With everyone with whom I collaborate, we are all somewhat bending the rules of the mediums as well as their official job titles: an architect might be required to build scaffolding that obstructs or deviates the course of the spectator contrary to their typical goal of designing something that facilitates efficient motion within a space.
In my most recent works, I’m designing an affective: a place that provokes or produces emotions. I rely on the auditory element. In Coorporealities it was an iconic piece of Romantic music that sought to evoke a certain feeling while also contrasting with the controlled nature of the bodies on the screens. A large portion of my works are based on the principle that emotions are constructs, developed and emerging from previous personal experience, in an interaction between the brain, the body and culture. Therefore the environments I create and construct favor a sort of catharsis. It’s an experience that derives from a relationship between the individual and emotion and I use various technical elements to evoke this. Often, these elements within the installation defy traditional hierarchies in order to achieve or access this emotion within the viewer, sometimes through disorientation, other times in laying the framework for expectation and then defying it. And in order for the experience of the installations to truly be fulfilled, it relies on the spectator to take a very active, rather than passive role, sometimes taking on the role of an editor as they decide how to absorb several films or fragmented visuals and how to sequence them.
Each installation has an approach unique to the space and often the space itself is my impetus for research before I even conceive of what the video or film or installation will contain. I typically collaborate with architects but also with various kinds of people: composers, programmers, metalworkers, textile designers. For instance for the LED panels in Coorporealities we had to devise how to hack the technology to make it function in a way contrary to its design For the floor installation and self-playing piano in Interpassivities, it involved set designers and also someone with a knowledge of sound programming. With everyone with whom I collaborate, we are all somewhat bending the rules of the mediums as well as their official job titles: an architect might be required to build scaffolding that obstructs or deviates the course of the spectator contrary to their typical goal of designing something that facilitates efficient motion within a space.