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teaching the video institute

commercial o'neil video

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the wind







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Overview (of work + life)


My projects exist in the gap space of the real and imaginary: integrating video and live performance. Since 2002, I’ve created tactical media projects in public space that investigate “singularities” of scientific and artistic understanding. For example, I began my art practice by using a video camera to “empirically” analyze the phase-sync of windshield wipers in Wipersync (2002). My most recent work employs humor to investigate the physics of skipping in humans, nature and machines.


My previous job experience in advertising during the heyday of the 1990’s is deconstructed by my subversive “brands” such as Skippisox. In Global Point Strategies (2003) I posed as a motivational speaker and consultant named Kurt Weibers for humorous and critical effect.

Kurt became an alter-ego used in nearly all of my subsequent projects, two of which were staged in Oslo, Norway in 2005 and 2009. These involved quasi-real software products and services that were presented to unsuspecting customers via training sessions and sales pitches. Since then, my projects have been set on the threshold of gallery spaces where there is a mix of the general public and art crowds.


I’m interested in how my platform creates a “coefficient of art” not unlike Duchamp’s ready-mades that viewers must negotiate. My hope is, that in the process of confronting these unorthodox scenarios, viewers will discover, and probe deeper into contemporary problems that are in limbo between science and art; and that my interdisciplinary, creative approach can subvert the authoritarian codes that accompany these concepts when presented in the silos of their disciplines.