These two video works, Stimulus and Self Portrait, were shot with a camera on a string of balloons flying in policed air space. They center on our relationship with the aerial god's-eye-view, a viewpoint historically developed for surveillance and/or military operations. The works seek to articulate a more connective method of looking from above. Instead of a drone, a camera flies over the streets of Manhattan on a cluster of balloons; the resulting footage presents a divergent aerial perspective, one that is precarious, humble, and tethered to the ground.

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