media art projects and commissions



Feature-length film work-in-progress


“Shockwaves” reveals and explodes the walls separating mythology from experience, closing the gap between outward experience and inner thought. Driven by the image of a single act of violence  -- serially reinterpreted like fractals in a self-contained universe of intersecting realities and repercussions evolving into memory – “Shockwaves” probes the enigmatic influence of time and perception on reality. By integrating the present with the past and future, “Shockwaves” explores the lasting nature of abusive power and the emotional imprints it leaves behind, creating through individual and collective subconscious a symbolic, yet visceral, moment of human meaning that exists out of time.



An elegy for the lost and deceased caused by the East Japan catastrophe.

Two projector test

A short test for testing out edge blending techniques with 2 HD projectors




role: director, cinematographer, sound mix


PUBLIC PREMIERE: American Dance Festival, Nasher Museum of Art, Duke University, 2011

FEATURED ON:​2011/​01/​human-bodies-the-subject-of-percussive-video-composition-in-new-dance-video/​

2 minutes

And experimental work in which the image and sound are composed simultaneously in a sound editing software: the work is as much about the sound as is it the image. Using only the percussive sounds of the dancers' bodies hitting the floor and each other, I created the audio mix by layering the un-effected sounds in Ableton Live, a music editing software as opposed to a video editing application, while simultaneously cutting up the video.

Soundboard investigates the potential for meaning inherent in increments of physical movement and in the fabric of motion and sound that they create. Accompanied by music composed using only the sounds made by the dancers” bodies as they come in contact with the floor and each other, Soundboard is a study of the human form as it marks its position in space and time, and of the very intimate, organizing rhythms that musical force brings to the equation of world and self. The repeated images and sounds of muscles, tendons, joints and skin in motions form patterns, becoming the themes and variations of a unique musical and dance experience.

SOUNDBOARD likely evolved from a similar aesthetic of the intensely controlled spontaneity of my large scale ink drawings (shodo) dating from the late 1980”s while still in Japan.

Didier Feldmann,  VIdéaste Etalonneur: Color-grading

Christopher Bell and Da-Rell Townes, dancers


“Chronicles of Laughing Yesterday” created for the BIGBOX series at 

Cleveland Public Series, echoes the flow of unconscious thoughts: everything moves

forward in uncanny directions towards unknown realms. I do this by forming layers of

imagery into uninterrupted cascades, creating a kind of visual polyphony

as opposed to the counterpoint of montage editing of traditional cinema.



For the past year, I have had the role of executive producer of Aardvark, an experimental feature film, honored to be the opening film of the “Filmmakers of the Present Competition,” and winner of “Special Mention” at the 2010 Locarno Film Festival at its world premiere.

The film, directed by Kitao Sakurai, is about a blind man searches for answers after a horrific act of violence. I occupied an entirely different role, but no less creative. Being responsible for the project's financial status and for delivering the program on time and within budget has given me new tools and understanding essential for creating large-scale, feature length projects. It also gave me an even deeper appreciation of the art of collaboration.

Aardvark “Critic’s Pick” in the “L.A. Weekly”,  has been invited to screen at Reykjavik International Film Festival, the Warsaw IFF, the Viennale, Goteborg IFF, the Thessaloniki IFF, the Valdivia IFF, Chile, BAFICI, Buenos Aries, Mostra de Valencia, Internationale Münchner Filmwoche Munich, AFI Fest (American Film Institute, L.A), Las Palmas, Warsaw, Krakow, Copenhagen, Cleveland International, and many more.

“A first film from young Japanese-American director Kitao Sakurai, the strangely poetic and hybrid creation Aardvark is unique of its kind. – Olivier Pere

"An American indie film like no other, an always surprising picture of an improbable friendship from its beginning to its end." - Tony Rays of Sight & Sound­

Press and Interviews:|+Kitao+Sakurai+on+Debut+Feature+%22Aardvark%22



Worked with long-time collaborator Gary Galbraith to create
a new multi-media dance/video/sound
art work "Edges".  Combining live contemporary dance with 
innovative video art, "Edges" continues to diminish the 
boundaries between these media. 
Premerie at Mather Dance Center
on the campus of Case Western Reserve University
November 4-7, 2010

10 minutes
Winner of Vimeo Awards Best Remix
PR Newswire:
EIN Presswire:

MO-SO  妄想  
MO-SO, a three-channel, six-channel audio videoart installation was awarded an EMPAC Dance Movies Commission 2009-2010.
Supported by The Jaffe Fund for Experimental Media and Performing Arts, Experimental Media and Performing Arts Center Rensselaer Polytechnic Institute, Troy, New York. Premiere Oct 2-3, 2010.  This work is also know as The Drowning (溺死).


Alice went through the looking-glass, but "Panoptical Delusions" takes you through the fun-house mirror of pop culture and the human mind, exploring how one affects the other in “Panoptical Delusions,” a stylish, darkly humorous and dizzying drive through a world of mental manipulation that coaxes our ability to think and act as individuals ever closer to the vanishing point.    

Commissioned by The Ingenuity Festival, Cleveland

Photo: Sean Eddy

An exhibition new and rarely exhibited works by
Douglas Max Utter and Kasumi

Daily life is a matter of complex equilibrium, achieved in a micro- and macro-context of mind boggling velocities -- like passengers napping on a commuter flight. One of the secrets of our poise is the interior positioning system that cognitive scientists term proprioception -- the way we perceive where different parts of our bodies are in space in relation to each other based on internal clues. This is something that art in general seems to comment on and explore. A painting or a video (or dance or concerto) inevitably distorts the transmission of information about both visual and internal realities, a distortion that has emotional, intellectual, even neuro-muscular implications and impact. The works in this show play with a range of effects caused by the interplay of color and line, recognition and transformation based on images of the human figure. These are not intended to be emotionally expressive studies (though they can be); they meditate on the use of formal qualities and materials to evoke the movement of energy through the half-awake array of identities and postures that each of us lumps together under the heading: “myself.”

Effortlessly Consenting Obstacle                       Book of Whisper Marionette


Art News Daily:

Kasumi’s newest videoart/film/animation hybrid, Quadrascope premiered in concert with The Cleveland Orchestra on the Baxter Stage at The Cleveland Playhouse, April 22-25 for Fusionfest 2010.


The music "Catch and Release," was composed by Esa-Pekka Salonen, formerly Artistic Director of the Los Angeles Philharmonic. The Cleveland Orchestra, conducted by Tito Muñoz,  performed the music.

The style of Quadrascope was inspired by the mathematical playfulness, intensity and structure of the music, and at the same time reflects upon the emotional power and movement of the dance.  Much of the gestural quality inherent in Shimotakahara’s choreography was incorporated into the movement of the elements in the videoart.


Quadrascope is at times in counterpoint to the structure of the choreography, employing multiple and ambiguous orientations.  The use of symmetry comments on the square shape of the stage onto which the work is projected: it was designed to be viewed from all angles with the audience sitting in raised, stadium style seating on three edges looking down at the projection and dancers.  The orchestra is on the fourth edge, also facing the stage.

 In addition to characters extracted from her vast array of old film samples that are woven in and out of the kaleidoscopic media tapestry, Kasumi incorporated a film countdown at the beginning of the work that, on David’s suggestion, would echo the first few measures of Salonen’s score.  That element grew into themes inherent in film leader: counting, time-code, circular movement, abrupt change, and numbers – or digits, logically followed by hands, sometimes used in place of a clapper on film shoots. There are moments in Quadrascope where rows of hands transform into turning film reels on a projector, and times when fingertips are used as an abstract organic texture that envelops the dancers.

A particular challenge in presenting this work is the problem of keeping the elements of this collaboration in perfect time with each other.  Rather than using a click track, Tito suggested that Kasumi built visual cues into the work that correspond with events and phrases found in the score. She used additional hand-imagery to express phrasing and timing.  This mimics cheironomy”, the use of hand gestures to indicate melodic shape and phrasing – an early form of conducting and communicating artistic directions during a performance. Tito will have a reference monitor displaying the work at his podium, ensuring that the videoart, dance and music comprising the performance are tightly synchronized, and the audience is able to derive the fullest emotional impact through the work as a unified, artistic union.

"Throughout CATCH AND RELEASE, Kasumi’s video was projected from overhead – swirling numbers, hands, dancing feet. Multimedia artists would do well to take Kasumi’s work here and in SOLDIER’S TALE as a model, for it was richly allusive but never overwhelmed the live performers." Elsa Johnson and Victor Lucas,



A live videoart, VJ performance, commissioned by the Ingenuity Festival of Art and Technology, Cleveland, Ohio, July  2009

SWAGELOK Animated opening and closing animation:

ADHESIVE WHITE MILLENIUM click here for a link to the work. Asterisk Gallery, 2010, Cleveland Institute of Art Faculty Show  2009


BREAKDOWN: a sample-based, hybrid Dada opera
Premiere: Zankel Hall at Carnegie Hall,
February 20, 2009
Conducted by George Manahan of the New York City Opera

BREAKDOWN was commissioned by The American Composers Orchestra for its "Orchestra Underground" series, an experimental series designed for the newly-constructed state-of-the-art Zankel Hall at Carnegie Hall. The series challenges conventional notions about symphonic music, embracing multidisciplinary and collaborative work, novel instrumental and spatial orientations of musicians, new technologies and multimedia. 

The work - about the vulnerability of populations to disinformation and the often corrupt agendas of those who control mass media - is a video/sound/animation art operetta composed from symbolically resonant, fragmentary phrases, gestures, sounds and utterances entirely sampled from public domain film sources – into a multi-dimensional narrative and musical structure.

Juxtaposing, layering, stacking, cutting, slicing, stretching, shuffling, remapping, warping, looping, re-ordering, filtering and otherwise manipulating sounds and images based on formal musical and visual qualities as well as multiple levels of meaning, allows me to find and create further connections and analogies outside of their original context, triggering sequences of perceptual, cognitive, and emotional processes in the minds of viewers. In BREAKDOWN, these samples are woven into a polyphonic, contrapuntal tapestry of memory and expectation, of music and meaning out of which a story emerges: the eternal tale of greed, fear and fall of empire.

I presented a lecture entitled Remixed Media: Adventures in Dysfunctional Harmony, Movie Mash, Agitprop and Sound Objects about the making of BREAKDOWN at Maya Stendhal Gallery, New York, The Crane Arts Center, Philadelphia The University of Delaware and others. - program2

The New York Times: Music Review | American Composers Orchestra

“Computer Effects? Add With Drama” By STEVE SMITH (excerpt)

Ronald Reagan and “Reefer Madness” shared screen time in “Breakdown,” billed as a “sample-based hybrid opera in one act.” Kasumi, a video artist, plundered old films for an uproarious bricolage of alien-invasion panic, financial distress, military might and patriotic sentiment...A contemporary political resonance was obvious, but robust humor deflected any hint of preachiness”     Published: February 22, 2009

Philadelphia Inquirer  (excerpt)“Engaging moments in new music” By David Patrick Stearns, Inquirer Classical Music Critic“For all its outwardly playful demeanor…BREAKDOWN was four fearlessly scathing scenes about America's current economic crisis. The video began with the sky falling, raining down seemingly benign but incongruous doll heads. Subsequent scenes were stuffed with quick-cutting machine and money images…The black-and-white film clips (from The Brain That Wouldn't Die, among others) often cut in and out in nanoseconds, with the score employing whatever appropriate musical color was needed for characterization. The totality was ingenious”. 


4 minute loop  
A single channel silent installation consisting of separate but adjacent looping video streams timed to intertwine and reverberate in varying intervals. The result is an evolving meaning of appropriated memory and an expression of the complexity of experience and the illogicality of our perception in which time events are manipulated in unexpected reinterpretations. 

5 minutes. Commissioned by the Cleveland Institute of Art for its 125th anniversary and the graduating class of 2008. The style is inspired by the phosphene visions of the Huichol artists I encountered while in Mexico. The pulsating, mandalic images were for the Huichol a gift from the gods; mine are a direct result of the colorful and mind-expanding interactions with the CIA community I am privileged to have experienced for the past seven years years.

Chroma festival de arte audio visual






Feature articles in the press:

PUBLICO “Kasumi comparira sus visiones” 19 November, 2007

MURAL “Ve miedo de Bush: La critica consus oras el Gobierno del Presidente de Estrado Unidos” 17 November, 2007

I was featured artist at the Chroma Festival de Arte Audiovisual, Guadalajara, Mexico. The live opening night performance incorporated the themes of colonialism and movement. Also included during the week-long event were a retrospective of my work and lectures at The University of Guadalajara and Centro de Arte Audiovisual. Newspaper interviews were published in Publico “Kasumi comparira sus visiones” 19 November, 2007 and Mural “Ve miedo de Bush: La critica consus oras el Gobierno del Presidente de Estrado Unidos” 17 November, 2007


The International Festival CAMP (Creative Arts and Music Project) is an innovative forum and interactive laboratory for soundartists, musicians as well as for artists dealing with video, installation, projections and the new media. It is characteristically marked by experimental and electronic music in convergence with visual disciplines. For several days a selected group of artists, who belong to the international avantgarde in their field, work in a "laboratory of time" on audio - visual projects which will be presented to the public at the final performances.



Created live in real time, this live videoart performance is a multi-layered flow of historical and contemporary found footage materials, each sample extracted from its original source and then reanimated and synchronized with its own sound, producing layered and hypnotic psychotropic rhythms, that in a normal state of consciousness would go otherwise unnoticed.  Objects and characters are placed in unexpected contexts and tiers revealing entirely new structural formations, penetrating meanings and subliminal interpretations. “Like a modern-age version of Francesco Goya’s Disasters of War.” STUTTGARTER NACHRICHTEN, August 20, 2007.


12 minutes , Cain Park, Cleveland Ohio, August 2007

Commissioned by The Ohio Arts Council to create a twelve minute art film for integrattion into the production of NINE, the Tony Award-winning Best Musical of the 1982 Broadway season, based on Federico Fellini’s 81/2. Book by Arthur Kopit and music and lyrics by Maury Yeston. The film is the play in miniature as seen in a hallucinatory dream-state. It focuses on film director Guido Contini savoring his most recent and greatest success, but facing his fortieth birthday and a midlife crisis blocks his creative impulses and entangles him in a web of romantic difficulties in early-1960s Venice.

A five minute version of this work is available on


A quartet of cool characters sampled from public domain films – each sample using its own original sound ‐ is scratched DJ style creating a comical polyphonic bagatelle.

HAIR THE MUSICAL  30 minutes

Commissioned by Kent State University, The School of Theatre and Dance. Book and Lyrics by Gerome Gagni and James Rado. Originally produced by the New York Shakespeare Festival. Directed by Victoria Bussert.

[In December of 2006, Kent State University, The School of Theatre and Dance commissioned videoart for Hair the Musical for February 2007 performances.  Six art film segments depicted issues of morality, sexuality, individualism, racism, violence, drug use, loyalty, and social acceptance in the style of surrealistic pop art of the 60’s and 70’s. The University kindly provided archival footage of the May 4, 1970 shootings for use in the production. February 2007

THE WALLPAPER PROJECT – Created a three 30 minute television shows – compilations of my own work - for the independent television channel of Asheville, North Carolina.



Live VJ Performance with the legendary Grandmaster Flash, Museum of Fine Arts, Houston. February 11, 2006

This performance, attended by over  6000 people, was the final performance of a four-part series in conjunction with the exhibit “Basquiat,” an exhibition that examined and explicated the brilliant, mesmerizing works of Jean-Michel Basquiat (1960-1988), whose meteoric career coincided with the emergence of hip-hop culture and the era of artist as celebrity. The imagery I chose for this performance was evocative of themes found in the works of both Basquiat and Grandmaster Flash.


January, 2006, a multi-city European tour with experimental musician, Nikola Lutz (Sampler / Laptop / Saxophone), funded by Deutsch-Amerikanisches Institut; 

Road trip ist ein audiovisuelles Live-Improvisationsprojekt mit Kasumi (Video / Live-Kamera) und Nikola Lutz (Sampler / Laptop / Saxophon).  Nikola Lutz und Kasumi kombinieren in einer atemberaubend improvisierten Ton- und Bildcollage Instrumentalmusik, gesampelte Alltagsgeräusche und Sprachfetzen mit mal abstrahierten, mal völlig verzerrten Gesichtern, Menschen in Extremsituationen und unwirklichen Farblandschaften. In Loopstrukturen verdichtet sich die Zeit, lädt sich auf, bis sie zerbricht - und so die Möglichkeit zur völlig überraschender Neuordnung schafft. Die Performance "road trip" enthält sowohl gemeinsame Improvisationen wie auch Livevertonungen bereits existierender Filme.

UGOKU (動く)  20 minutes  

Experimental Film/Animation Hybrid, Found footage, Live performance. The use of vibrant color, visual rhythm and repetition to flesh out the abrupt juxtapositions of classic montage technique.

A bizarre legion of ever-evolving characters culled from hundreds of found footage sources move with heart-pounding, eye-popping precision to intense beats while kaleidoscopic arrays of colors  explode like digital mescaline.  This Warhol meets Escher hybrid film+animation unfolds in a surrealistic, multi-dimensional vortex that gives "rock the body" a new meaning. Every element of each image: movement, gesture, color, tempo, etc., is reanimated and synchronized to specific sounds in the music, creating layered and hypnotic psychotropic rhythms which in a normal state of consciousness would go otherwise unnoticed. Objects and characters are placed in unexpected contexts and tiers revealing entirely new structural formations, penetrating meanings and subliminal interpretations.  "Like a Tool video on acid."

Premiere screening: Sapporo International Short Film Festival Japan 2007

Portions were screened at SIGGRAPH 2007 and as part of the Visual Music Marathon, created by Northeastern University

HEADBANGER, 2 minutes

A single clip, sampled and extracted from its original film material, is scratched and looped, DJ style, with its original sound.  It is played at different speeds, backwards, inverted, repeated, layered, piled on top of itself along with its own sound. Layered with other clips similarly treated creates multi-layered flows- creating a narrative of hallucinatory sound/image counterpoint.

MYTH AMERICA Installation and live performance VJ performance with musicians Warren Harris aka Hanna and Adrian Bertolone

Spaces Gallery, Cleveland, Ohio

DATE: June 34 – August 4, 2006

The Free Times, Hit or Myth (excerpt): “…beyond  question the show's most powerful works”...”Go to Myth America, if only to take in these  remarkable montages. They'll remind you of what creative freedom is all about”. – Douglas Utter



July 15  SPONSOR: The Human Fund

Kasumi: live multiscreen video art, DJ Spooky: sampler, spoken word, laptop, Daniel Bernard Roumain: violin and effectsThis and other live 2006 performances on:


July 13. Live multiscreen videoart, graffitti art, breakdance, music performance by DJ Ceven, Kasumi, TZ, Mr.Arise, Herb One, Poetic Repulic and others . A live multiscreen videoart,graffitti art, breakdance, electronic and live music performativeinstallation. Video Art, created using the dance and graffiti elements were mixed and manipulated with the live images of the dancers, musicians, film loops and the crowd reactions.



Collaboration with Jay G. Horowitz, NASA John Glenn Research Center

A virtual reality 3 dimensional mixture of art, video and technology from NASA Glenn and the Cleveland Art Museum: Original videoart and music employing CAVE™ technology (CAVE Automative Virtual Environment) - a 3D visual computing environment that recreates three dimensional space and allows the viewer to interact within the venue. The GRUVE (Glenn Reconfigurable User-interface and Virtual reality Exploration) Lab is a reconfigurable, large screen display facility at Nasa Glenn Research Center. It has been designed to allow researchers and engineers to explore their data and interact with one another in a computer generated environment.

PARTICIPATING ORGANIZATIONS: NASA John Glenn Research Center; Len Steinbach, Chief Information Officer and others, The Cleveland Museum of Art, Information Technology Division, Department of New Media Initiatives


SPONSOR: American Greetings

DATE: Ongoing throughout the duration of the festival

I worked with recent CIA graduate to create a 3D film animated to classical music specifically

produced for very young children presented in a soft, touchable, interactive three-dimensional environment (projected on floors, walls, and objects) so that small children (from crawling babies to early grade school ages) can interact with the material. The goal of these works was to create an aesthetic system which responds fluidly and intriguingly to the physical movement as well as touching of the exhibit spaces. The existence, positions, and behaviors of various parts of the projected image depend partially on the children’s presence and movement in the exhibit area.


(Fourth of July Celebration on the Square)


The works had to appeal to a broad-based, family audience. I created four five minute films with the subject “Dance in America” that were presented on a Jumbo-tron on Public Square preceding the Cleveland Orchestra performance.

FLUCTUATING IMAGES (STUTTGART) AT THE LAB A video screening curated by Heike Liss and Nomi TalismaDATE: Wednesday, May 24, 2006, 7-9 PM The LAB @ Capp, San Francisco



August, 2005
A stereoscopic film

The short film, The French Writing Desk,  breaks new ground in the use
of stereoscopic video to unveil the intrinsic beauty of an often
overlooked gem in the Cleveland Museum of Art's permanent collection.
This ladies' writing desk is very rare because it demonstrates the
decorative technique called "straw work," or marqueterie de paille,
considered an ancient craft. Thousands of tiny pieces of colored wheat or barley straw were applied to the surface of the wood to create a shimmering, painted effect.

This stereoscopic video was created using twin Sony 3- CCD  DV
camcorders mounted on a custom rig, configured analogously to the
human eyes. Rigorous attention to detail during the shoot produced
calibrated stereoscopic footage that was then edited using digital,
nonlinear editing techniques. Through intricate alignment of the
stereoscopic camera rig, precise positioning of the object, and
delicate camera moves, Kasumi attains a vision of the desk that
exploits and retains depth and detail that would be lost in another
medium.  In blending the vision of the object with music of the
period, she evokes a unique appreciation for this extraordinary

Curatorial Guidance: Stephen Harrison, Curator, Decorative Art and
Design, The  Cleveland   Museum   of Art
Lighting: Howard Agriesti, Chief Photographer, The Cleveland Museum of Art
Technical Director: Jared Bendis, Virtual Reality Specialist, The
Cleveland   Museum   of Art
Production Assistant: Gary Kirchenbauer, Photographer, The Cleveland
Museum of Art
Technical Consultant: Jay Horowitz,  NASA Glenn Research Center


Live VJ performance with the Berlin electronic duo (pbpitchcontrol record label) Grogshop, Cleveland DATE: May 30, 2006SPONSOR: MOCA / Bombardement Society-cleveland artist collective / nittygritty / grand poobas


L'HISTOIRE DU SOLDAT by Igor Stravinsky


Xian Zhang conducting

Lincoln Center, Avery Fisher Hall, NYC May 12-14, 2005

In 2005 The New York Philharmonic commissioned the creation and performance of videoart for an innovative new production of Igor Stravinsky's 1918 work The Soldier's Tale. Conducted by Xian Zhang, it was performed by Pinchas Zukerman and principle players of the New York Philharmonic and narrated by F. Murray Abraham, Marian Seldes, and Tim Blake Nelson along with a live puppet show co-designed by Doug Fitch and Kitao Sakurai. The videoart created a formal and syntactical cohesion between the music and narration. 


5 minutes

An impressionistic ballet solo incorporating videoart created for the L’Histoire du Soldat piece. This short film is based on the emotional content of gesture and attempts to read into the small increments of physical movements by the dancer. Densely painted celluloid and ballet footage are composited, layered and rhythmically cut to an original music score.

 Image courtesy of Coburn Gallery, Ashland University, 2010                             


An experimental work figurative expression that derives in part from my interest in the expressive theories and exercises of Konstantin Stanislawski, whose philosophy inspired much of modernist theater. These ideas contributed insight to the mix of structural formalism and explorations of psycho-dramatic space in the visual arts over the past century. As a theme the struggle for the essential self suggests the ominous possibility that we may render ourselves accidental by our own false sense of necessity. Instead of a portrait fixed in time or images arranged in a staggered sequence, the movement in these works turns back on itself and revolves around a hidden center of gravity as if it were revolving around its own axis.  Each portrait, animated by love and hate, sympathy and antipathy, expectation and disappointment leaves a residual trail of the human presence and memory of past events, emotion always exposed and betrayed by physical movement.  



14 minutes

Kinetic Shadow is a collaborative work for multi-channel videoart and 6 dancers. The piece, choreographed by Gary Galbraith of CWRU and the Martha Graham Dance Company, was simultaneously performed in Cleveland and Los Angeles with cast members in each location using Internet2 technologies to broadcast the live video streams and the surround sound live audio. For this piece, I created video art that was projected on the bodies of the dancers as well as three large screens that were part of the set.

Sponsors: American Fiber Systems, Audio-Technica US, Barco, Callahan Foundation, Cicso Systems, Dell Computers, Netgear, Qwest Communications, Spring Corporation, Star Valley Solutions, Yamaha Commercial Audio Systems Division  The videoart portions were presented at the Cisco Global Higher Education Summit in California


9 minutes

Almost entirely abstract, hand-painted celluloid precisely micro-cut to fast-moving beats. Not for epileptics.


14 minutes. A found text operetta tackling the consequences of the misuse of power and its by-products paranoia, blind faith, and the erosion of the foundations of our democracy.

Cited in The Encyclopedia of Underground Movies by Phil Hall, Michael Wiese Productions, November, 2004
Screenings: Sapporo International Short Film Festival, Best Experimental Film, 2006,
Milano Film Festival 2007, Expresion en Corto, Guanajuato and San Miguel de Allende, Mexico, 2007
Lausanne Underground Film and Music Festival, October 2004
For complete list of screenings for this film and others mentioned in this document:

The veneer of American democracy twitches in its final death throes as the Church of Bush Rove Cheney, Inc. relentlessly jam their flag-waving religious sloganeering and invocation of god-like superiority down the throats of an uneducated, uninsured, uninformed public.

“We are the supreme race! We have the supreme weapons!”

Street protesters wishing to demonstrate against the zealotry of the Masters of Mendacity and Manipulation are confined – literally - to caged areas, euphemistically named “free speech zones” out of sight and earshot of average Americans who are “guarded” from the truth by the state controlled media.

“They won’t win. They cannot win against the symbol of Christ!”

With ruthless calculation and Machiavellian logic, the Republican Princes of Power and Privilege have crafted a permanent war economy in order to provide welfare for the wealthy.

“It is the one and only way to maintain the supreme race!”

A fusion of multi-layered polyphonic sampling, heavy, relentless beats, and scorching satire, “The Free Speech Zone”, a psychedelic Dada/techno opera, is a scathing condemnation of the American government’s quest for world domination through unrelenting mind control.

“Thank you, and welcome to the apocalypse.”


12 minutes

Music composition and realization,  multi-channel live dance/videoart performance collaboration with Gary Galbraith, Mather Dance Center, Case Western Reserve University


The International Opera Project: A Collaboration of the Oberlin Conservatory of Music, Music & Performing Arts at Trinity Cathedral, and Instituto Superior de Arte del Teatro Colón, made possible by a grant from The Ohio Art Council

[In 2003 I created videoart for the opera Dido and Aeneas performed jointly at Instituto Superior de Arte del Teatro Colón, Buenos Aires, Argentina, and the Oberlin Conservatory of Music. The project was funded by a grant from The Ohio Arts Council.  With this work I was able to explore not only the content and style of video as a story-telling device but also as a new platform for redesigning theatrical space – a welcome departure from the rectangular video frame.  Actors and objects metaphorical representations of the libretto were filmed and composited along with painted film to reinforce and heighten the intense emotional content of the music.

1999 – 2003


3 minutes

Production format: 35 and 16mm film, digital video, painted celluloid, found footage

Adriano Asti Award for Best Experimental Film, Montecatini, 2003

This film is a disturbing mixture of images constructed in the subconscious mind, unsettling visions and hard break beats. Little Jimmy becomes the frightened human center in a glaring accusation aimed at our loud, destructive and corrupted world whose message is “Society Reaps what is sows in its abuse of the weak”.


5 minutes

A formal theme and variation where small fragments of dance movements have been altered during repetition changing color, tempi, rhythm, etc. With Gary  Galbraith, Kathleen Kohatsu, Paloma McGregor and others– 2003. Debuted at the Hamburg International Short Film Festival


4 minutes, Found Footage and painted Celluloid

Society's unspoken prohibition against watching or staring at others, especially those with afflictions, has inflicted an impenetrable isolation as well as psycho-sexual paranoia on those most in need of help. Technical Aids is a glimpse into the internal violence embodied in our retreat from each other. The film - a montage of hand-painted and figurative film, sounds, samples, grooves, and digital video – is the stream of consciousness of a soul burdened by the judgment of others.

Best Experimental Film, IFP/Midwest Flyover Zone Short Film Festival 2001

Best Experimental Film, Athens International Film Festival; Runner-up, Best, 2001

Short Film, Cleveland International Film Festival, Special Jury Award, Seoul Net, 2002

Festival, Best of Festival, Dover Film Festival, Special Screening, Iranian Young Cinema Festival, International Competition, Ankara International Film Festival

Director’s and Program Staff Citation Selection, Black Maria Film Festival 2004


16 minutes

A retrospective sampling of Kohn’s paintings, methods and philosophy in the form of an experimental work incorporating material filmed in the artist’s studio, paintings, archival photographs and interviews with the artist.


3 minutes

Found footage. A rhythmic study in paranoia. Stuttgarter Filmwinter