The 4-channel video installation “Seeing Things, Headscarf” produces ambiguity through simultaneous random juxtapositions of a woman donning a scarf. Conceptual art, quad-screen, and fashion challenge stereotypes: Who decides when scarves are fashion, when they signify devotion, - repression? Riffing on the popular video "100 ways to tie a scarf", “Seeing Things, Headscarf” sources include Audrey Hepburn wearing scarf-and-sunglasses in "Charade", Hijab, bridal veils, the Virgin Mary.
“Seeing Things, Headscarf” is a 4-Channel video installation: Final cut pro manipulated video recordings; Quad-video-switcher (signal splitter) distributes 4 DVDs/DVD /players. Each quadrant of the screen displays a version of the same video, asynchronous and non-linear. For flatscreen or projection.
“Seeing Things, Headscarf” involved performance and collaboration, and is part of a series created to protest Trump’s Muslim ban and systemic post-9/11 ethnic profiling of Muslims. This series [videos, installations, site-interventions] is informed by living and teaching in Morocco, activism and a Catholic girlhood.

“Jumping Jack, 2-Minute Workout” is a stop-action video animation whose inspirations include Trayvon Martin, Shiva, Jesus, tasering, fitness videos. “An everyday aerobic exercise becomes the universal gesture for “don’t shoot!”” [Washington Post, Mark Jenkins, 11.3.2016.] Based on original drawings, “Jumping Jack, 2-Minute Workout” employs rapid sequencing for stroboscopic effect to prompt viewer empathy with Black male targets of racial profiling and outrage at racial violence.

Four memories from realization of Losing Winter for Oresman Gallery at Smith College, 2022. For this iteration, artist Lynn Cazabon used the project as a means to engineer an intergenerational and cross-cultural dialogue between communities of people aged 60+ and Smith College students enrolled in Professor Ellen Kaplan’s class THE 312 Theatre in Dialogue with the Landscape.

Engaging with the pieces of myself that have been left behind, stolen, lost, and transformed, I filmed pivotal moments in my journey toward recovery.

“remnants.” features fire, love, blood, death, and loss. It travels across the flooding of grief after visiting an old storage unit and reveals the debilitating pain of rebuilding after sickness and assault.

The Philosopher’s Stone is a journey chronicling the hero’s mission towards “home”. On the road back, the heroes are driven to brave the workings of their spiritual evolution in search of boons and beacons of hope to aid their struggles in this life. During the turning point of their journey, the heroes face their biggest trials, one that would test their faith and require sacrifice in order to move forward. They experience a rebirth as they are faced with death, and come together as one to bind their souls and expand their strength. The hero’s obstacles are now alchemized into their opportunities and they become an unstoppable force. They soon return home, bearing the wisdom of a new consciousness and now have the power to transform the world just as the world has transformed them.

After being displaced during the pandemic, we were fortunate enough to establish our own home in the same apartment complex that we lived in as children. Forced to come home, and meet our origin point of where our lives began, the pandemic shifted into a fruitful homecoming. We were able to search old storage units and, with our findings of family photo albums, investigate the space that we formerly and currently inhabit. We relived experiences once reunited with family, leaving voicemails for our late mother.