SIGNAL MATTER
Signal Matter (2022) is a completed body of work developed during an artist residency at Alfred University, where analog video synthesis and digital image manipulation were used to explore the transformation of transient signals into physical form. Using Touch Designer, DIY video synthesizers, and the Sandin Image Processor, the work captures the visual logic of interference, rhythm, and decay—translating ephemeral screen-based phenomena into archival objects.
The series is divided into two distinct material explorations:
Signal Fabric, a set of digital compositions printed on cotton, where glitch aesthetics are embedded into textile surfaces, creating a tactile fusion of signal and softness.
Static Signal, a companion set of high-resolution fine art prints produced on matte paper. These works preserve selected video-derived moments as static, formal compositions, emphasizing clarity, texture, and the materialization of live distortion.
Signal Transfer, a singular lithographic print pressed onto wood, expands the project’s material vocabulary by allowing digitally-generated signal imagery to interact directly with organic grain and surface. Through this transfer process, the instability of electronic feedback is reinterpreted as physical imprint—bridging traditional printmaking with glitch-driven digital aesthetics.
Across all formats, Signal Matter treats the language of video feedback, signal flow, and digital error not as flaws, but as generative tools—rendering unstable data into lasting, physical presence.
SIGNAL FABRIC
“Glitch Bloom”
“Encoded Textile”
“Woven Signals”
“Pixel Weave”
Signal Fabric is a series of textile-based digital prints that explore the interplay between analog video synthesis, glitch aesthetics, and tactile materiality. Each piece is derived from real-time experiments using Touch Designer, DIY video-synthesizers, and the historic Sandin Image Processor—an analog computing device known for its role in early video art. The resulting compositions are visually vibrant, and rhythmically fractured—like frozen fragments of corrupted transmissions or digital hallucinations.
The works embrace error and interference as generative forces. Saturated color fields clash and coalesce in symmetrical patterns that feel both organic and machined, while layers of distortion suggest motion, feedback, and sonic resonance. By printing these visuals on cotton fabric, the series bridges ephemeral signal work with material permanence, offering a tactile record of digital decay.
Each print measures 10x10 inches, reinforcing a modular, grid-like consistency that echoes pixel logic and woven structure. The pieces have also been translated into puzzles—playfully re-fracturing the image through hands-on interaction and repetition.
This body of work situates itself at the intersection of retro-futurism and contemporary media art, collapsing boundaries between screen, signal, and surface.
STATIC SIGNAL
Static Signal is a collection of high-resolution fine art prints derived from real-time analog video synthesis and glitch manipulation. Created during the artist residency, these prints capture fleeting visual phenomena—interference, feedback, and signal drift—and translate them into still compositions printed on archival, matte paper.
The series includes two formats:
22 x 34 inches – printed on a heavier, gallery-grade matte paper ideal for exhibition and display.
24 x 16 inches – printed on a lighter-weight matte paper, well-suited for framing and personal collection.
Each image in “Static Signal” is a frozen frame from a moving transmission: a moment of instability stilled into clarity. Saturated color fields and layered compositions range from structured abstractions to organic mutation image-like forms—evoking everything from data architecture to dreamlike environments.
Where the companion series Signal Fabric explores tactility through cotton surfaces, Static Signal isolates and preserves the video noise of electronic systems as crisp, formal objects of archival print—turning signal error into composed, lasting visual objects.
This collection reflects on the beauty of impermanence and error, treating technical disruption not as a flaw, but as a fertile site for new image-making.
“Analog Output”
“Softscape”
“Moving Transmissions”
“Printed Interference”
SIGNAL TRANSFER
Created as part of the Signal Matter series, Signal Transfer extends the project’s exploration of analog video and image instability into traditional printmaking. Using a lithographic transfer technique, a digitally-generated signal composition was pressed onto a wooden surface, allowing the grain, irregularity, and absorption of the material to interrupt and reshape the image.
This 16.5 x 11.5 one-of-one piece highlights the tension between mechanical reproduction and organic texture—bridging glitch aesthetics with tactile print processes. As the image interacts with the physical surface, signal becomes sediment, offering a material echo of transmission, decay, and imprint.
