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bio

I’m an artist and sound engineer based in Charlotte, North Carolina, where I grew up. I come from a close-knit family, and a lot of my work starts there. I hold onto slipping childhood memories and the objects tied to them. Old media, worn technology, and personal artifacts carry weight for me. They feel fragile, and it’s my mission to make them last.

I earned my BFA and MFA in Sound Design from SCAD. School gave me structure, but more importantly, it gave me time to fail, rebuild, and figure out what actually matters in my work. I focused on sound, video, and analog systems, and learned how to support other artists while advancing my own ideas.

After school, I worked in Los Angeles. I worked freelance and interned for Media Pollution. I assisted with installation builds, managed equipment, and learned how fast creative work moves when money and deadlines sit in the room. LA taught me how to stay sharp, adapt quickly, and take responsibility for my role in a larger system.

I make work that stays close to process, memory, and failure. I build with my hands, I test in real time, and I let the work change me as much as I change it.

Analog art works with real signals, real objects, and real failure. You’re not looking at a perfect digital copy. You’re seeing voltage drift, tape wear, magnetic noise, and physical limits in action. The image exists because current flows through a system, not because software cleans it up.

I work with CRTs, video feedback, live cameras, and aging media to shape images in real time. I reroute signals, overload inputs, and introduce interference. I use circuit bending to force hardware to behave outside its intended design. By shorting connections, misclocking signals, and interrupting normal signal paths, I expose unstable image states that manufacturers try to eliminate.

Video feedback creates closed loops where the signal feeds itself. Small changes in gain, distance, or sync timing cause major visual shifts. CRTs respond to these changes physically. The image warps, blooms, collapses, or drifts as voltage and timing move out of tolerance.

If you’re used to clean screens, this work asks you to slow down and observe how systems behave under stress. Pay attention to distortion, dropouts, rolling sync, and delay. These artifacts are not effects. They are evidence of the system working at its limits.

Analog art doesn’t hide the process. You see the circuitry, cables, and signal paths. You hear the hum, buzz, and feedback. You watch the image struggle to stay coherent. The instability stays visible. That instability is the work.

parker