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The Burrow is an online navigable world (explore it yourself at https://newart.city/show/the-burrow ) inspired by a tarot reading and discussion led by Claire Pentecost at the Wrong Farm Residency in 2025.  This work is part of the Sorceror’s Grimoire Pavilion at the Wrong Biennale. Claire Pentecost, grace grace grace and I gave a talk on this work at Co-Prosperity Gallery  in January of 2026. 
“time is a rubber band, 10 channel immersive multimedia installation, IMPACT Festival, SAIC Galleries, 2023  
“time is a rubber band” is an ongoing work of multi channel video installation, interactive sculpture and online virtual worlds. Based on ethereal visions and transcendental experience, it is a mythic experience across time and into extradimensional locations, expanding our notions of what it means to be human: how we are now, how we have been in the past, and what we could be in the future.
“time is a rubber band, “witch hut 4 healing”  IMPACT Festival, SAIC Galleries, 2023 Haptic components installed in the furniture that vibrate with  lower sound frequencies allow the viewers to stay somatically grounded while traveling through immersive digital space. 
“time is a rubber band”, still from Arcturus, New Art City, virtual world, 2023
I’ve been working on a large steel and ceramic sculpture, that you can stand inside and navigate a projection of this virtual world while the sound plays above your head.
time is a rubber band..., “the ocean planet cycle”, center channel still, 2023
I made these prosthetics to become my own ancestor, an aquatic creature on an ocean planet. In this three channel video cycle, I walk from one timeline into another to save her from a portentous demise.
“staring right back at myself”, desktop performance, No Nation Art Gallery, Chicago IL 2025
 “a shoulder to cry on”, ASTROMETRICS, Murmuration Gallery, Chicago 2025 
ASTROMETRICS is the new media collaboration between Hunter Whitaker-Morrow and Fleming, exploring the utopian futurities and dystopian presents of science fiction through dual desktop projections, synthesizers, and spoken word. 
“time to relax” (excerpt),  2023, part of the SPACORE installation at MANA Contemporary in 2023 and Screened at the Chicago Underground Film Festival in 2024. 
A fifteen minute work break phone spiral into toxic wellness culture and whiteness. 
 “Opening”, oil on canvas, 2021
“the perfect girlfriend” Claire Fleming Staples and the New Vintage Chill (Zekarias Musele Thompson, Josh Wisman, Big Hongry, and Philip Laurent) Live in the Green Room, The Crown, Oakland, CA 2026
“constant innovation” collaboration with Odette Stout, live sound and performance, Elastic Arts, Chicago, IL 2025 
“Ear Vase”, glazed ceramic,  2019
THRESHOLD, curator,  ALMANAC Gallery, Chicago IL 2025 
A night of ritual performance and dance on the Winter Solstice, a pivotal moment in the seasonal cycle as it is experienced in the Northern Hemisphere. Fifteen artists worked collaboratively to create interwoven performances, the final performance ending in a parade to my home for the sonic emissions of three more artists and dancing. 
 
404 Not Found, live at Casa Al-Fatiha,  2025
404 Not Found is a live hardware tekno project since 2014. I weave samples of esoteric and popular culture with textural field recordings and modular synthesizer into the beats and basslines made by wife and collaborator Lacey Alexis. In this excerpt of a live set I’m playing samples of the Wave Organ, a sound sculpture by Peter Richards in San Francisco, Vito Acconci’s “Seedbed” and 4 Non Blondes, “What’s Going On?”  
THRIVAL, live immersive projections for Carissa Pickney, with Kezia Waters, Avreeahyl Ra at High Concept Labs, Chicago 2024

Resilience, video performance collaboration with Kyriakos Apostolodis, Open Signal:Video Art in Flux, San Antonio, TX 2025
Dinner for Stories, Zilkha Gallery, Wesleyan University, 2009
   Score for Brendan Fernandes “Moving Through” Raclin Murphy Art Museum, Notre Dame University, 2025         
  In this piece dancers begin in the museum atrium, each with a bluetooth speaker playing the score at whatever timecode they choose, starting and stopping, as they move through the space. One by one, they pick cards from the       central textile and move into the surrounding galleries to the artworks depicted on the cards, which also contain a poetic prompt. Responding to both the artwork and the prompt they can be located in the galleries by the sound of   my score playing from their speaker.