Laser cut Series

 This series of portraits start with photographs that are processed into layers and laser cut. Several variations of each processed photograph are cut into paper and hand dyed felt. The variations experiment with how the inclusion and exclusion of varying layers of detail, different color palettes, and abstract shapes affects our perception of the human face.

Variations on “Grandmother”



Variations on “Self Portrait”









Variations on “Roommate”




Christmas Cards

Paper collage


Come Explore


A large tent of sheets is filled with playful paper sculptures, toys, pillows and blankets. A masked guide in white leads the viewer through the space silently, giving them prompts while playing with the toys.


“Tell me about…
a time when you were 6 years old
a childhood game with siblings
a scar on your body from childhood”


“Tell me about…
your mother
your father
a time you were terrified as a child”



“Tell me about…
a fear you’ve been ignoring
a secret that no one knows




After answering all of the questions the viewer can ask the guide one question. Then the viewer has a moment alone to reflect, play, and gather their thoughts before entering back into the world.


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The Twins

Commissioned by Junocat and Cactopus

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Commissioned by Capyac and premiered at Vulcan Gas Company.

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Sea Maiden

This piece was commissioned by the Fire Fish Festival in Lorain, OH.

Cerebrum, Viscera, Self

The installation involves video, sculpture, and audio in three rooms of a basement. Each room represents a different part of the central nervous system during the moment of a panic attack.

Before entering the space, you receive an informational pamphlet explaining Panic Disorder and Panic Attacks. These serve both as a trigger warning and as context for the piece.

When you walk into the dimly lit and unkempt basement, there is a low, muted rumble that fills the space. It sounds similar to water or like blood rushing through veins. The sound bounces off the old cement and brick walls making it difficult to locate and mildly disorienting. Arrows on the floor lead you to the first room, a small closet underneath a stairwell where you see a short (approx. 1 min.) video loop of myself dirty and frantically running in place in front of a white wall.

The second room has a black chest in the far corner. Paper hangs in the air filling the large room and is distributed to look as if it has exploded from the chest in the corner. The paper is thick and surrounds you as you walk through the room. It looks burnt and is covered with frantic sketches of bodies, some bloodied, black and red smudges, words written quickly and almost indecipherable, and other similar things. Another corner of this room is barricaded by old wooden furniture creating a small “safe” space in the corner. Spread throughout the room are seven small speakers playing  audio of high pitched, disorienting sine tones and occasional soft, unintelligible, distressed voice. The speakers are placed so that the high sine waves bounce around the room and the sound changes around you as you move through the space.

Last, you walk through a large, dark room towards a glowing heart that is in a dirt-floored closet at the far side. The heart sculpture hangs in the air and is about a foot in diameter. The rumbling that has filled the space expands into the mid-register and fluctuating tones become more distinct, ever changing and yet together a static texture. When you’re ready, arrows on the floor lead back through the maze of basement to a separate exit and back up into the world.


This piece was done in the Spring of 2015 in collaboration with dancers Julia Sheppard and Hayley Larson, musician Christy Rose, and Creative Director (performing in this video) Elise Moltz. It plays with the juxtaposition of constraint, entrapment, entanglement, and pain verses support, structure, and dependence. What does it mean to be painfully trapped by something that also frees your body by supporting it on every inch?




Bodies is a very personal piece for me. It’s hard to say exactly what inspired it, but it is very near to my heart.

This is a piece which I plan to continue modifying. The projections and audio will be reworked, the performance slightly changed, and the projection screen filled in more.

Glimpsing Red


Composition, audio editing, video projections – Elise Moltz
Cello- Nathan Klein
Dance and choreography- Ellen Askonas

This is the first performance of a piece that I hope to continue working on with my wonderful collaborators. I think that the nature of a piece like this (long, virtuosic for both performers, and one of my first experiments with the combination of so many media) calls for more time to let the performers settle comfortably into their roles, all technical issues to be worked out (many of the video cues are off for various technical and logistic reasons in this performance), and solidify the relation between the dance and the projections. This piece was written in 3 months and rehearsed in 2 months while the three of us also ran between classes, rehearsal, meetings, etc… I’m excited to see what it will turn into as we spend more time on it in the Fall.

I’d like to invite anyone to comment openly, honestly, and critically. Criticism is the most helpful and rewarding feedback I get as an artist.



In collaboration with James Vitz-Wong and Alfie Goodrich



Video: Elise Moltz

Audio: Devin Frenze

This piece was presented at the 2014 Threshold New Music Festival at the Oberlin Conservatory of Music in Oberlin, Ohio. The video is fixed accompanied by live improvised audio. 




Performed by Nathan Klein




Performed by Yuri Popowycz, Will Overcash, Nellie Freed, and Nathan Klein




Performed by violinists Yuri Popowycz and Will Overcash



Accepted as a 2011 Oberlin Society of Composers Inc. piece, this was performed by Helen Park on flute, Carrie Frey on viola, and Will Robins on Bass.



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Return From Clock Work


Le Chateau Hante


Violin- Sarah Page
Viola- Cassie Tomas
Cello- Nathan Klein
Bass- Kevin Sullivan
Harp- Kevin Lawyer

Il Strisciante Circo


This is the first chamber piece I ever had performed. I wrote it and got this recording at Oberlin Conservatory’s summer high school program back in 2010.


Ultimus Vale

Performed by Nick Stange