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I first began making cinema machines as a way to present psychological cycles and behavior patterns from everyday life, and to create a filmic illusion for the viewer. These zoetrope-like devices utilize nineteenth century cinematographic technology, photography, and sabotaged household objects to explore the infrastructure of the family unit and the effects of non-verbal communication. Like a memory that can1t be repressed, each animated sequence repeats endlessly and mechanically as it recalls charged encounters from intimate situations and institutional contexts such as childhood, the workplace, or school. Secret messages emanate from everyday objects and furniture such as a bird cage, or a kitchen cabinet, and appear on various surfaces: suspended paper screens, picture frames, a box, a movie screen. The objects project and frame the images, illuminating the complex web of intangible exchanges, body language, estrangement, and betrayal that takes place within these seemingly routine events.
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