3 channel documentary, 30 min., 2019

Failing Archives installed in Lines of Flight: From Above, PAVED Arts, Saskatoon, March 14-April 20, 2019.
Failing Archives installed in Lines of Flight: From Above., PAVED Arts, Saskatoon, March 14-April 20, 2019.

In 2016, as Syrian cities were being flattened due to civil war, trenches, walls and migrant detention centres were rising across the world to prevent the movement of refugees. Based on investigations conducted using aerial imagery and found footage, this film tracks the destruction of homes and the construction of anti-migrant infrastructures as intertwined processes dispersed across space and time.

In this section of the film, a video uploaded to Youtube showing the attempted toppling of a statue of Hafez al-Assad (right) is traced to the location it was shot in—the central square of Daraa, Syria (left).

References: Eyal Weizman, The Least of All Possible Evils, 2011. Harun Farocki & Andrei Ujica, Videograms of a Revolution, 1992. Hito Steyerl, Politics of the archive: Translations in film, 2008. Saidiya Hartman, Venus in Two Acts, 2008.

Multiplayer falling sand game, 2021–

Sandbox session showing the Sand, Water, Flower, Fern and Bee elements.

A multiplayer falling sand game utilizing cellular automata and WebSocket. A love letter to the falling sand games of my childhood and an experiment in imagining alternative digital commons.

Play Sandbox

References: Dan-Ball, Powder Game. Max Bittker, Sandspiel. Ursula K. Le Guin, The Carrier Bag Theory of Fiction, 1986.

Handheld digital timepiece, 2024

Dandelion Clock sped up to show the entire 24 hour life cycle loop.

A timepiece that depicts the life cycle of a dandelion mapped across 24 hours.

References: Ellsworth Kelly, Branch of Leaves, 1970. Wiktionary, dandelion clock.

Time-based image, 2024

First image: at 06:00 GMT. Second image: at 22:00 GMT.

A crater slowly engulfs the image throughout the day, everyday.
Made in collaboration with Max Ma.

See Live Image

Low-resolution map of the earth, 2023

Landsat.Earth is a low-resolution portrait of the earth as it appeared yesterday. It is made by combining all the images captured by NASA's Landsat 8 satellite in a single day. Landsat images have a coarse spatial and temporal resolution; they are taken 16 days apart and each of their pixels cover 30x30 meters on the ground. As such, Landsat images are ill suited to surveillance at the human scale and instead function as documents of planetary phenomena.

Using Landsat.Earth to preview Landsat 9 images.
Visit Landsat.Earth

References: Doreen Massey, A Global Sense of Place, 1991. James Bridle,, 2015. Oraib Toukan, Toward a More Navigable Field, 2019. Roger Stahl, Becoming Bombs: 3D Animated Satellite Imagery and the Weaponization of the Civic Eye, 2010.

2 channel installation, live video, 2019

The Jack Pine installed in Scaffolds I can no longer see (on left and right walls), InterAccess, Toronto, November 6-December 7, 2019. Also in the frame: work by Guillaume Pascale and Sahar Te. Image by Natalie Logan.
Channel 1 of The Jack Pine showing live camera locations across Canada on February 18, 2021.

In 2014, leaked documents revealed that Canada’s Communications and Security Establishment used airport Wi-Fi hotspots to surveil passengers and tracked them for weeks after they had left the airport. The number of people surveilled in this operation is unknown even to Canada’s security agencies because of the automated, artificial intelligence backed methods used in contemporary data collection. The staggering scale of data being gathered by governments, militaries and corporations requires them to pair their surveillance infrastructures with AI to efficiently profile, police and profit. The Jack Pine combines live security cameras from around Canada with public AI software to paint the new Canadian landscape.

Channel 2 of The Jack Pine showing live camera locations across Canada on February 18, 2021

The Jack Pine is named after Tom Thomson’s famous 1916 landscape painting. This updated Jack Pine presents the new Canadian landscape, in which we hold our breath not at the serene coastlines of Southern Ontario lakes but at the scale and capacity of contemporary surveillance and AI infrastructures.

References: Citizen Lab, Snowden documents reveal CSEC used airport Wi-fi to track Canadians, 2014. Kate Crawford & Trevor Paglen , Excavating AI: The Politics of Training Sets for Machine Learning, 2019. Simone Browne, Thinking A.I. through Rastus Robot, the Westinghouse Mechanical Slave, 2017.

Website and data visualization, 2016

I designed and developed the official website for the first edition of the data visualization focused Information+ Conference. A visualization to find connections between conference lectures is the centerpiece of the site.

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Masters thesis and atlas, 2020

A Pre-Partition sketch of Pakistan from the Jinnah Papers at the British Library (IOR Neg 10811/41), georeferenced to highlight its spatial and political distortions.

In the summer of 1947, a British barrister who had never set foot in India used paper maps to sketch out the lines that would lead to its partition. Today, the border he drew is one of the most securitized spaces on earth. Thousands of floodlights installed along the border's perimeter render it visible from space in a bright orange hue, underscoring the power of pencil lines drawn decades ago. In my MA thesis, I investigate how British and Muslim political interests used cartography to construct, reinforce, and contest ideas of nationhood and statehood during India’s partition.

Read the Thesis
Left: A section of the map used by the British to produce the Punjab section of the Pakistan-India border in 1947 (Reproduced from Mian M. Sadullah’s The Partition of the Punjab, 1993). Right: The same border visible from space in 2011, captured by the crew of the ISS.

My thesis is accompanied by an atlas of the maps produced in the lead up to Partition. The glitchy maps in this atlas visualize the distorted geographies embedded in the maps which were used to design the borders lining South Asia today. The atlas illustrates the absurdity of governing and partitioning land using just pieces of paper, and brings into relief the cruelty of imperial logics under which paper is held sovereign over millions of people.

Download the Atlas

Physical computing, shared garden, 2022

Named after Hieronymus Bosch's The Garden of Earthly Delights and the rare-earth metals that underpin modern computing, The Garden of Rare-earthly Delights is a shared digital ecosystem controlled by physical instruments. Using the Arduino microprocessor and a range of analog sensors, physical actions are connected to the The Garden's weather, plants and animals. People can interact with The Garden using a custom controller. Submerging the controller in water triggers rain, shaking the controller triggers an earthquake, and flashing a light on the controller causes sunny weather. Made in collaboration with Max Ma.

References: Hieronymus Bosch, The Garden of Earthly Delights, 1490-1500.

Procedurally generated environment, 2019

News of the World as it appeared on August 31, 2019 at 5:56PM.
A news person born on October 11, 2018 (left) and a news person born on October 27, 2018 (right).

News of the World is a procedural environment shaped by the text and images circulated by the news media. The World gathers the latest news stories every hour and uses their content and metadata to spawn figures, objects, and landscapes which interact with each other within the frame of a web-page. Face detection APIs are used to isolate the facial features of the people mentioned the day’s news and these features are then spliced together to produce news people which populate the landscape. News headlines and metadata are used to stitch together a shifting terrain in which the news people live. News of the World updates itself every five minutes with more creatures and features, transforming through exhibition periods and mimicking the world building powers of the news media.

The birth of a news person. News of the World as it appeared on August 31, 2019 at 5:44PM.

References: Hannah Ritchie, Does the news reflect what we die from?, 2019. Nam June Paik, Beuys Voice, 1990. Jonathan Mahler & Jim Rutenberg, How Rupert Murdoch's Empire of Influence Remade the World, 2019.

Digital exhibition catalog, 2017

I designed and developed a digital catalog for Worldbuilding, a virtual reality exhibition at held at Trinity Square Video in 2017.

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Book design and data visualization, 2015

All Freedom of Information Requests made to City of Toronto in 2015 visualized across four books.

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Physical computing, experimental software, 2021

A touchscreen Raspberry Pi build running a customized version of Conway's Game of Life.

3 channel documentary, 22 min., 2017

Screenshot of the online presentation of Falling Border. showing all three channels
The left channel of the film uses aerial imagery to trace the route taken by refugees from Syria to Turkey, while the right channel utilizes 3D modelling and elevation data to reconstruct the terrain they traversed through.

Three years into the Syrian Civil War, ISIS launched an attack on Kobanî—a Kurdish city in Rojava. Within weeks all foreign journalists left the city. In their absence, daily reports from citizen journalists detailed key events from the fighting while satellites periodically captured images of the battle’s toll. Across three screens, this film combines these sources to document the siege of Kobanî, the migration it provoked, and how the city’s proximity to a border affected both militants and migrants.

Watch the Film

References: Forensic Architecture, The Left-to-die Boat, 2012. Harun Farocki, Images of the World and the Inscription of War, 1988. Hito Steyerl, In Free Fall: A Thought Experiment on Vertical Perspective, 2011. Trevor Paglen, Some Sketches on Vertical Geographies, 2015.

Convert any image to ASCII art

ASCII Earth made using ASCII Maker, original image from Himawari 8/9, Japan Meteorological Agency.
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Last updated on March 6, 2024