Interactive and mixed media installations with sound & video. Sensors drive complex data processes to create “socially-conditioned” systems that can be programmed in novel responsive ways.

KNOWING, Area 405, 2013. group show, M.E Chettle, curator.


looking through Alzaruba’s Expulsion,” into Lania D’Agostino’s “Chapel of Transfiguration”

8 channel interactive audio installation. Music and audio samples generated by Baltimore musicians Lurch & Holler (Liz Downing & Michael Willis), depending on the number and position of viewers in the space, vary from accentuating the emptiness of a slow day in the gallery to the sounds of group singing and crowds when the space is full.


The Irish Shrine and Railroad Worker’s Museum. Baltimore, MD.

Multi-channel audio installations throughout the museum, 2008-9.

In the “Famine Ships” installation, touch sensitive cards with photos of famine ship passengers drive an intimate storytelling experience.  Other environmental installations, controlled by docents, yield the echo of conversations from the 1860s, in rooms that have been restored to the look of that period.



The Young Soldier’s Guide, H. Lewis Gallery/Delaware Biennial, 1999-2000.

8-channel audio & video interactive environment. This environmental work features a “comfort zone” in which content coming from the system varies between “intimate,” “avoiding,” “performing” and “repelling” modes depending on how many viewers are in the space.


Surrogate, mixed media with 2-channel video & stereo sound
School 33 Art Center, Artscape, 1998.


Maryland State Arts Council Individual Artist Award, 2000, 2002