BFA, 1996, University of Central Florida, Orlando; MFA, 1998, Tyler School of Art, Temple University, Philadelphia. Published Apps: the App Store, Google Play. Exhibitions: Apex Art, New York; Artist Television Access, San Francisco; Axiom Center for New and Experimental Media, Boston; Banff Centre, Banff, Alberta; Block Museum, Evanston; Carnegie Museum, Pittsburgh; Contemporary Art Museum Raleigh, Raleigh; Eyedrum, Atlanta; GSU Digital Arts Entertainment Lab, Atlanta; Hirshhorn Museum of American Art, DC; Hunter Museum of American Art, Chattanooga; Institute of Contemporary Art, Philadelphia; Museum of Contemporary Art Chicago; Pace Digital Gallery, New York; Portland Institute for Contemporary Art, Portland; Printed Matter, New York; StudioXX, Montréal, Québec; The Lab, San Francisco; Utah Museum of Fine Arts, Salt Lake City; Collections: Goldsen Archive, Cornell University, NY; The Kinsey Institute, Indiana University, Bloomington; Newark Public Library; JavaMuseum. Publications: Deepening Teaching, Cambridge University Press; Elements of 4D Art and Design, Oxford University Press; Florida, Parlor Press, 2015. Bibliography: The Intercept 2014, Art Papers 2013, Media-N Journal of the New Media Caucus, 2013, 2010. Panels/presentations: CAA, DiGRA, Darkside of Digital UWM Center for Information Policy Research, FATE, GLI.TC/H, ISEA, Mobility Shifts at The New School, Processing Chicago. Group Work: ARRAY [ ], Channel TWo. Awards: National Science Foundation 2015, Spaces R+D 2014, 2012, Turbulence 2011, Terminal 2009.

Experience at SAIC

Since arriving at SAIC in 2010 I have designed and taught pilot courses focused on the integration of new media practices in the Department of Contemporary Practices; introduced new courses in the Department of Art and Technology Studies focused on 3D graphics, multimedia, and game design and development; and have been invited to co-teach, Data Viz Collaborative: Information as Art, an unprecedented partnership between the School of the Art Institute of Chicago (SAIC) and Northwestern University (NU). In 2015 Adam Trowbridge and I received National Science Foundation funding to further our pedagogy research on teaching computer science concepts through art and design scenarios.

Personal Statement

My current practice takes shape as Channel TWo [CH2]. CH2 is a new media studio focused on mixed up reality, authorized formats/unauthorized ideas, systems of control, and radical togetherness. CH2 is named for the idea of "transmission" (Channel) and for the acronym of the people involved (TWo): Adam Trowbridge, Jessica Westbrook, and our son Oskar Westbridge. CH2 is interested in luck, levels, and trespassing through the contexts of landscape, interactivity, data, and augmented reality. The motivations underlying CH2's research/practice are aesthetic, social, and political. CH2 uses media, game platforms, communication ephemera, and mobile apps to reveal paradigms, complexity, contradictions, and cognitive dissonance. Recent CH2 projects include:  "Episodes," a multi-level playable virtual landfill installation with an accompanying scratch-off lotto card system; "openSource Abortion," a git hub repository; "polyCopRiotNode," an augmented reality intervention of database error induced home invasions; "Find Each Other. Begin There," a networked 2-channel virtual cornfield game installation; and "t4int3d [<3]" (read: tainted love) a downloadable collection of computer viruses and executables inspired by a love story.

Current Interests

My research involves systems, desire, visual cues, language, and contradictory sensations that often vacillate between great fortune and impending catastrophe. I am most influenced and informed by everyday cultural landscapes, the mundane, observations, conversations, rules, routines, and habits of lived experience filtered through timing, probability, and an awareness of gender and class constructs. I am attracted to the impossibilities of binary reasoning (real and virtual, fact and fiction, data and narrative). I use the complexity of mixed.up(realities) as mechanisms for coping and/or forgetting and design [legitimacy] to negotiate and organize the joys and struggles of information and understanding. Collaboration is important because ideas, material, and motivations are inherently networked and social, and I appreciate what happens when togetherness transgresses the obvious a nd produces something beyond the scope and limits of individual expression/will.


Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.