Commissioned by Visual AIDS for STILL BEGINNING: The 30th Annual Day With(out) Art 

“In Much Handled Things Are Always Soft, the personal, racial, and systemic dynamics of cruising become visible: in 1970s Chicago, civically engineered policies of segregation such as redlining caused the neighborhoods of Black people to be cramped and densely populated. In the video, artist and long-term HIV survivor Patric McCoy describes how parks provided an outlet for men to come together and find space for their desires beyond labels, identity, and the confines of the compressed urban setting. ”

— A Doula's Guide to Watching Experimental Videos with Visual AIDS

“The video is an extension of Derrick’s project for Headmaster No. 8. The issue is thematically structured around the Village People, and he was given a cop-themed assignment. More specifically, he was asked to consider the importance of the uniform in relation to authority. At the time, the editors had no idea that Derrick would soon be involved in a late-night altercation with the Chicago PD after leaving a gay bar, or that he would reconnect with a boyhood friend, now a police officer, that he hadn’t seen in many years. The Roach Is Coming is based on a recording of the intimate conversation between Derrick and his childhood friend, recorded while Derrick and the other man bathed each other.”

— Headmaster Magazine

Commissioned by Visual AIDS for STILL BEGINNING: The 30th Annual Day With(out) Art 

“In Much Handled Things Are Always Soft, the personal, racial, and systemic dynamics of cruising become visible: in 1970s Chicago, civically engineered policies of segregation such as redlining caused the neighborhoods of Black people to be cramped and densely populated. In the video, artist and long-term HIV survivor Patric McCoy describes how parks provided an outlet for men to come together and find space for their desires beyond labels, identity, and the confines of the compressed urban setting. ”

— A Doula's Guide to Watching Experimental Videos with Visual AIDS

“The video is an extension of Derrick’s project for Headmaster No. 8. The issue is thematically structured around the Village People, and he was given a cop-themed assignment. More specifically, he was asked to consider the importance of the uniform in relation to authority. At the time, the editors had no idea that Derrick would soon be involved in a late-night altercation with the Chicago PD after leaving a gay bar, or that he would reconnect with a boyhood friend, now a police officer, that he hadn’t seen in many years. The Roach Is Coming is based on a recording of the intimate conversation between Derrick and his childhood friend, recorded while Derrick and the other man bathed each other.”

— Headmaster Magazine

Life Without Dreams is set in the outer space of consciousness, where the surfaces of far out planetary bodies form the terrain for an exploration of 24/7 capitalism, insomnia, and the disappearance of darkness.

Goodbye Thelma synthesizes footage from the 1991 film Thelma & Louise with footage of the author’s own making to create a mysterious, and at times disturbing, exploration of traveling alone. In contrast to the dramatic events of Thelma & Louise, this story is one of suspended fear, which inverts stunning vistas into unsettling and uncertain landscapes.

The Making and Unmaking of the Earth turns to geology as both a metaphor for and a psychic container of women's emotional states and embodied experiences of physical pain. Combining archival footage of earth processes with interviews describing mysterious physical experiences and emotional attachments, this film explores how everything we bury deep inside eventually speaks through the geology of the body.

This film originated as an expanded portrait of artist Carol Bove as she created four monumental sculptures commissioned by the Metropolitan Museum of Art. One week after filming began, New York City went into its first pandemic lockdown. Filmed against the backdrop of the progressing pandemic, Medium evolved into a meditation on materiality and the artist as a medium through which ideas move into the world. We see Bove work with steel as if it’s as malleable as clay, wrestling with illusionism, scope and scale to materialize sculptures that appear at once massive and weightless in the niches of the Met’s façade.

"Love at first sight, one night, down at Silverror’s Saloon!" Mickey R Mahoney and jonCates direct Silverror’s Saloon, the next film in the 鬼鎮 (Ghosttown) Glitch Western series of films and games. Written by Emily Mercedes Rich and jonCates, this experimental film queers, glitches, and questions the Western film genre. We encounter characters caught in a glitched cinematic magic moment: a love scene. First dance with a stranger. Home and far from home. Flicker, flower, bloom, and dissolve, in a poetry film.

Looking like a 1970’s version of “Rosie the Riveter”, Mogul takes on the persona of an artist who makes a living posting billboards on the Sunset Strip in Hollywood. As Mogul recounts her climb up the billboard “ladder”, she realizes that the only way to truly make a “name” for herself is to create her own billboard. And so she does. Redux tackles a recurring theme throughout Mogul’s work - a female artist’s anxiety about fame, fortune, and survival in the art world. The Long Beach Museum of Art in Southern California premiered Mogul is Mobil Volume III in 1975. Unlike Mogul’s other humorous and satirical videos of the seventies, this work was never distributed until now and has rarely been seen. Revisiting Mogul is Mobil in 2022, Susan Mogul decided to cut its’ ten minute running time by half, enhance the sound, and voila Redux.