I have been carrying a camera for the last twenty-three years. From ages twelve to eighteen, I used a consumer mini-dv camera; thereafter, a 16mm Bolex. The ensuing archive–which also includes all footage shot of me until age twelve–contains hundreds of hours, tens of thousands of shots.

Over the last decade, my system for archiving the images has become a work in itself. Inspired by Pasolini's term, "im-sign," I formulated an ever-growing system of short-hands to codify the filmic gestures in any image. The result is a searchable database that goes beyond people, places, and setting.

With artist Wojciech Kosma, I have developed a proprietary editing system that reads my metadata and batch-edits selected image pools using coded algorithm modules. There is no linear timeline: the system moves image to image by weighted chance, in the manner of a Markov chain.

I call the results composition films. There is no master cut: the rules read my tags and compose picture and sound in real time, so each screening is a discrete path through the archive. Xri Xro runs on a single rule — first shots of film rolls meeting last shots; Of Rivers runs on many, reverse-engineered from my own editing instincts.

Between 2012 and 2022, I made a trilogy of short psychodramas that include Apsis (2012), Weathering (2015), and Norma (2022). The films revolve around anxieties of intrusion.

I sit on the board of Light Industry, an experimental cinema in Brooklyn, NY. In 2024, Mott Hupfel and I founded the PH Film Preservation LTD., a 501c3 dedicated to preserving and propagating Peter Hutton's film works.