Many people, on seeing the things I've built, wonder why I do it. The
machines I create are brought to life for really only one purpose: to
fight each other and destroy designated sacrificial targets in the course
of theatrically staged mechanical performances.
Why do I do this?
By staging shows with themes like Sex and Death, MoneyHate, and the
Demise of Humanity, I get to articulate my personal perspective on things
sacred and perverse. Also, robot performance has proven to be a very
effective avenue for releasing aggression and violent urges, likely saving
me from going postal. I'm happiest when I'm smashing things with a robot;
luckily for me, audiences seem to like violence too.
As the son of a plastic surgeon and a fine artist, I have long been
interested in the intersection between aesthetics and structure. After
studying architecture at Columbia University, I continued my education by
working with San Francisco-based Survival Research Laboratories. This in
turn led to a fertile four-year period in which I collaborated on an
ongoing basis with SRL, as well as with other performance entities such as
Seemen and PeopleHater.
While living in San Francisco I was introduced to Animatronic Special
Effects. During the time I've worked in this field, I've been involved
with some high-profile projects, from Nike's "Li'l Penny" to the films
"Flubber" and "Bicentennial Man." A continuing interest in this
profession led me to relocate to Los Angeles, where I've not only been
able to do more challenging effects work, but also bring the indigenously
Northern California based art form of Machine Performance to the new
audience of Southern California.
Currently, you'll find me building new robots, working on new films and
TV commercials, and devising new ways to burn and destroy the icons
society holds dear.