The Wedding Project (2011-12), multi-media project including a relational/participatory performance, videos, prints, and photographs; videos ca. 30 min.; in post-production. In this blending of art and reality, a real marriage between two individuals serves as a metaphor to explore larger historical, sociological, psychological, epistemological, and metaphysical contexts – including the bond that, for better or worse, has in some sense always existed among all of humanity but that now, by virtue of the internet, is becoming much more intense, or at least more quickly and thickly interconnected.  More info here.
		[Submission for the "Texture of Dallas" Competition] (2010), video, 4 min. Two buildings present architectural textures that both reveal and conceal and through which various meanings are literally and figuratively signalled. Selected for screening at the 2010 Dallas Video Festival.
		Bloodwork (2009), composite video with participatory variation, 4:17 min. This and the other composite pieces below were created by "filming" a live VJ performances of an array of curated, embedded YouTube vidis; hence the skips and real-time cursor action. All audio is native to the appropriated vidis, manipulated only by using the YouTube controls. The component vidis were created by their respective makers. You can create your own version of this piece by going here, sizing and shaping your browser window to configure the vidis in the array you prefer, adjusting the volumes, and VJ-ing them as you like.
		Falls (2009), composite video with participatory variation, 3:31 min. Component vidis by their respective makers. You can make your own version of this piece by going here.
		Pass (2009), composite video with participatory variation, 4:45 min. Component vidis by their respective makers. You can make your own version of this piece by going here.
		La Wally Chorus (2009), composite video with participatory variation, 5:35 min. Component vidis by their respective makers. You can make your own version of this piece by going here.
		La Wally – Callas Page (2009), digital image. This companion piece to La Wally Chorus is a 24 foot-long, actual-size facsimile of the YouTube page on which I found the Callas version, including the lyrics and all 288 comments as of November 15, 2009.
		Voicemail Regression (2009), video displayed on a cell phone, 55 secs.
		Aquarium (2009), video, 1:25 min.
		Monitor (2009), video, 2:45 min.
		Ten Self-Portraits in No Particular Order (2008), video, 13 min. In response to an audited course assignment.
		Intrajection (2006 --), a three-part multimedia project of which (2) and (3) are in pre-production; video ca. 10 min. Comprising (1) the auctioning of a unique digital print, Intraject Certificate, at the Dallas Contemporary on March 11, 2006, which certificate evidenced the rights of the winning bidder to (2) a unique performance art piece to be performed at a time and place of the winner's choosing, which performance will be videotaped to produce (3) a limited edition of five video DVD's, one of which will be reserved for the winner. The performance will involve, among other things, six performers standing in a circle facing the center, speaking without much emotion and out of sync a script edited from three year's-worth of 'net-derived detritus, with the winner bidder (or their designee) occupying the center of the circle.
		Grace at Camp Casey (2005), video, 8:54 min. Short documentary on the protest that helped turned the tide of U.S. opinion against the Iraq war, with interviews of Cindy Sheehan and other key figures at their camp outside President Bush’s ranch in Crawford, Texas on day five, when there were just 100 protesters, and later when there were thousands. Broadcast nationally on Current TV in a six-month rotation beginning in 2005, and selected for the 2006 Dallas Video Festival and the 2006 ChickFlicks.
		The Cressida Project (2005 --), multimedia project with video, prints, and sculptures; video ca. 25 min.; in pre-production. The video will comprise two main story lines, both drawing on Shakespeare, Plato, and other sources, and one of which takes place in an imaginary future nation, the United Democratic Islamic Emirates (U.D.I.E.). Scenes or images involving confinement, power, control and sadism, interpretation, transmission of knowledge, reproduction, and escape would be used to implicate questions about identity, trauma, safety, and transformation – if not within a single lifetime, sometimes through succeeding generations. This experimental video will employ special effects and original sound art and music. The project also includes related prints and sculptures. More info here.
		Creamistress 6: "The Centered Polenta" (2003-4), multimedia project with video, prints, and sculptures; video 7 min. A dryly humorous, Wind Done Gone-type response to Matthew Barney's art world blockbuster, the Cremaster Cycle. Like Barney’s epic, meaning-packed, but only 7 min. long and completed on a budget of $400. The video was screened at the 2003 Edgeworks Film Festival, exhibited in a solo show with related prints and sculptures at Conduit Gallery in Dallas, Texas (www.conduitgallery.com) in 2004, shown at Ballroom Marfa in 2004, selected for inclusion in the Texas Show at the Dallas Video Festival in 2004 and exhibited with related prints and sculptures in 2006 at Jack the Pelican Presents in Brooklyn, NY and at BoCA at in San Francisco, CA. Written, directed, and produced by Carolyn Sortor; computer animation by Ben Britt; art-direction, computer graphics, and still photography by Carolyn Sortor. Reviews and notices at The New Yorker, Tom Moody, James Wagner and at The Dallas Observer here and here.
		Kitty Karaoke Macbeth (2007), video, 1:34 min. In the tradition of Marcel Broodthaers' Interview With A Cat (1970) and Bill Davenport's Art with Cats (1997), the eponymous role in a scene from Macbeth is played by my cat, while I play Lady M. Set, shot, and edited in less than three hours, which may or may not be all the concept deserves.
		Looking Glasses (2000), video, 38 secs. An eight-line poem concerning perception, containment, and escape is visualized using still imagery and computer animation. Selected for SXSW and the Texas Show in the 2000 Dallas Video Festival.

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