My use of pre-manufactured materials (spotlights, tripods, microcontrollers) is indicative of a service (consumer) economy. These objects physically degrade and ultimately have a lifespan (duration), and yet their replacement is almost guaranteed through mass off-shore production. It is not the physical materiality that is important, but the representation, function, and the sensation. While I am executing looping scripts of code (the medium of the information age), the works’ necessity for power (in this case, 120VAC) ground their potential endlessness. Utilizing open-source technology makes the work theoretically infinite to recreate, with manuals and instructions for reassembly. Untitled [...] has the potential to be editioned infinitely.

machine_gun_God is the title of the code written. Untitled [...] is constantly translating C++ to DMX. The code is a choreography. The dancer interprets the values through the translation. The performance object (spotlight) is now performing.

First installed for 3 days and 3 nights, this work existed in a room of its own amidst the scent of Versace's The Dreamer. 
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This work was nominated for the Museum Purchase Award by the Cranbrook Art Museum in 2024. During the Graduate Degree Exhibition, this work remained on for the entire duration of the show (1 month). 

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