My work as a filmmaker and visual artist emerged from my earliest creative impulse: music. I began writing songs at fifteen and later discovered moving media in a summer Super 8 course — film reels, splicing tape, and long nights in the editing room. I was immediately drawn to the power of visual storytelling and soon completed a double major in Psychology and Cinema at Binghamton University.
Binghamton’s Cinema Department was one of the few in the United States oriented toward experimental film. My own instincts at the time leaned more toward narrative work, and studying with avant-garde filmmakers such as Ken Jacobs and Larry Gottheim challenged those instincts in profound ways. That tension pushed me beyond comfort — into rhythmic editing, stop-motion animation, optical printing, and a deeper engagement with artists such as Maya Deren, Michael Snow, Stan Brakhage, and Hollis Frampton. What initially felt like friction became formative.
After graduation, professional responsibilities took precedence, and music remained my primary creative outlet. Yet questions persisted: how does unlimited human potential coexist with the finite and uncertain nature of time? Working with archival footage from my wife, Nancy Kane — an early explorer in dance and technology — I began exploring these ideas visually. The result was Outside-In (finite), created for the TEKHNIKOS Dance and Technology Concert at SUNY Rockland.
Since then, my films have been exhibited at local, regional, and national levels. They continue to explore themes of potentiality, perception, memory, and the finite arc of human experience.
