Website in development! Check back 7/25
Website in development! Check back 7/25
A
Feeling and Form – Audiovisual Prototype
Developed in conversation with the Music Center Los Angeles Innovation Lab
Feeling and Form is an audiovisual prototype that explores how classical music might reanimate memory through spatial storytelling and digital trace. At its center is a Gaussian splat of the Libby sculpture in the Blue Ribbon Garden — a fountain of broken Delft blue porcelain. Inspired by its fragmented surface and quiet resilience, the project imagines a poetic act of breaking and unbreaking the sculpture again, this time through sound.
Driven by a Bach cello solo, the splat responds in motion, as if the music itself were breathing life into the object. The prototype was created using a volumetric workflow: I captured the sculpture on-site, processed it with Gaussian splatting, and brought it into Blender for early motion tests before designing the audio-reactive scene in Unreal Engine.
This piece is part of an ongoing inquiry into presence, loss, and how emerging media might hold the emotional resonance of physical form — even in its fracture..
B
Caringtown Court – Narrative VR Game World (In Development)
Caringtown Court is a narrative-driven immersive world blending courtroom drama with surreal civic fantasy, farce, and melodrama. Set in a mythic small town where justice is as emotional as it is procedural, players navigate a layered reality filled with memory, spectacle, and the theater of the law. VR integration deepens spatial engagement, allowing scenes to unfold from multiple embodied perspectives.
Part absurd satire, part political allegory, Caringtown Court explores how interactive storytelling can transform public rituals into spaces of reflection, resistance, and play. The project is part of a larger worldbuilding initiative centered on identity, care, and collective possibility.
C
The Sound Carries Us – Jayabo Afuera
El sonido que nos lleva
The Sound Carries Us is an audiovisual portrait of Jayabo Afuera, a rural town in the Dominican Republic where my mother lives. Created through a process of photographic documentation and volumetric capture, the project reflects my perspective as someone shaped by both Dominican and American sensibilities—close to the culture, yet never fully inside it.
Using Gaussian splatting, I reconstructed fragments of the landscape—fences, vegetation, the geometry of the town’s quiet roads. These forms were then animated to a layered soundscape: the buzz of motorbikes, the call of birds, conversation from neighboring homes, and the rhythms of bachata music playing through nearby speakers. Long regarded as a music of emotion and everyday life, bachata became the element that bridged my sense of distance. It gave shape to belonging—not through language or lineage, but through resonance.
Animated in Blender and completed in Unreal Engine, the work visualizes sound in real time, transforming the environment into a responsive memory.
The Sound Carries Us is a gesture toward reconnection—an attempt to listen across cultural lines, to let place move through the body even when identity feels split.
D
Project Amargosa – For Gilles Jobin Company
Volumetric documentation by Elena Rosa and Margaret LaCorte using Gaussian splatting techniques for Gilles Jobin Company
Margaret and I worked on Project Amargosa as part of a larger XR production by choreographer and director Gilles Jobin (Cosmogony, VR_I, Dance Trail), contributing volumetric assets for use in immersive environments.
The project focused on documenting the Amargosa Opera House and Hotel, a remote cultural landmark in Death Valley Junction, California. Using a Gaussian splatting workflow, we captured the site’s theatre space, crumbling facades, sculptural elements, and surrounding desert — creating spatial datasets that preserve its fragile atmosphere and architectural detail.
At the center of the capture is the legacy of Marta Becket, a dancer and painter who transformed the Amargosa into a one-woman performance palace, filling its walls with hand-painted murals and performing for decades in near isolation. Her presence haunts the space, and became integral to the tone of the volumetric work.
Project Amargosa serves as both an archival gesture and a poetic rendering — preserving a vanishing world and translating it into immersive, embodied memory.
F
Rehearsal for Repair, 2025
Paper
24 X 24
In this series of twelve works, I explore the relationship between presence and disappearance — how the body can be extruded, abstracted, and reshaped across mediums. Beginning with painted and photographed self-portraits, I perform and dance in front of my own paintings, capturing the figure in motion. These images are then fragmented and reassembled into delicate paper sculptures.
The process is one of breaking and reconfiguring — pulling the work apart to bring it back together in a new form. The resulting sculptures are ghostly, quiet bodies that hover between image and object, surface and depth. Movement becomes residue, and gesture becomes structure — a dance held in stillness.
This practice is a meditation on memory, repair, and transformation. What was once whole is broken and reformed — not to erase the fracture, but to let it shape what comes next. Feeling becomes form, motion becomes presence.
See the bars, interviews, and all the queer spaces—karaoke, dorms, games, a futuristic island—documented here.
L-BAR
An Interactive Generative Queer Women’s Bar Storyworld
“L-BAR is an interactive multi-media trip down a very important road, alley, dark street, underground space—the lesbian bar… It is crucial historical art of the highest level.” Marie Cartier, author of Baby, You Are My ReligionL-BAR was a virtual, interactive bar world I created between 2021 and 2023—born out of the isolation of the COVID-19 pandemic and my deep longing for connection, nightlife, and queer community. Inspired by an experimental space I visited on Ohyay during the IDFA documentary festival in Amsterdam, I set out to build my own generative, story-rich queer women’s bar universe—one where people could hang out, explore, and feel immersed in a shared history.
The project recreated some of the most iconic lesbian bars across time and geography—including Mona’s 440 Club in San Francisco, the If Club in Los Angeles, The Lexington Club, and Le Monocle in Paris. These virtual bars were not just simulations; they were interactive spaces filled with music, performance, queer rituals, and memory. You could sit at the bar, clink glasses with a friend, sneak into the restroom, or watch historical figures like Gladys Bentley or Gertrude Stein perform. It was playful and intimate, yet rooted in cultural history.
Over the course of the project, I conducted oral history interviews with people across the U.S. who had actually been to these now-shuttered bars. Their voices—everyday patrons, bar owners, and iconic figures like Chrystos and Lillian Faderman—were woven into the environments themselves. You could literally sit in a booth or lean on the bar and hear someone tell their story, layered into the space. I called it a “history of the present.”
L-BAR was presented to platforms like Snapchat and USC, and I spoke about the project at institutions including Cal State Northridge, Cal State Los Angeles, Old Dominion, and Michigan State. It was also featured in the inaugural Circa: Queer Histories event by the ONE Archives Foundation.
More than anything, L-BAR was a living archive—a celebration of desire, memory, and queer futurity. It imagined what it means to document from inside the story, not outside of it.
See the bars, interviews, and all the queer spaces—karaoke, dorms, games, a futuristic island—documented here.