Ghostless (Notation 1 - 3), 2023-2025Single channel video"To be haunted", Avery Gordon writes, "is to be tied to historical and social effects". The Ghostless notations began with an interest in another kind of horror – one that is about the absence of haunting and disturbance. I asks what happens when haunting is foreclosed? When ghosts are alienated from their labours? It is a work that re-evaluates the terrains of death, loss, memory, and life itself, that are reconfigured with the rise of historical and new technosocial infrastructures and arrangements in the world. I am interested in how temporality is reconfigured with crisis, particularly its foreshadowing and anticipation.

Unfolding in a fogged world of glass, animal simulations, inhuman gazes, and loops, Ghostless (Notation 3.), the capstone in the series, focuses on intercalating shots between the American Museum of Natural History’s 1900s habitat dioramas by Carl Akeley and the Boston Museum of Science’s display of Boston Dynamic’s autonomous robot “Spot,” looping inside its enclosure – mise-en-scènes of endangerment and animacy. The animal figures — taxidermied specimens and a robotic dog — exist in parallel. They stand — one skinned, one simulated — in parallel stances of attention. Each reacts to a world half-conjured, dragged from fog into animation, into a likeness of life. The soundtrack samples recordings from a quantum computing refrigerator – a breath of anticipation, speed and scale – and a phone call with a space burial company, Celestis, where the artist inquires about the logistics of sending her late-father’s ashes to space.


And day to day, life's a hard job, you get tired, you lose the pattern. You need distance, interval. The way to see how beautiful the earth is, is to see it as the moon. The way to see how beautiful life is, is from the vantage point of death.

— Ursula K. Le Guin, The Dispossessed