This exhibition explored the intertwined histories of glitch art and video games, featuring 40+ artists from over 5 countries, across two Pittsburgh venues. As producer, curator, and organizer alongside John Bumstead and Nick Liberatore, I developed the show's conceptual framework and programmed workshops, discussions, and live demonstrations. I created and moderated the Discussion Game, a participatory conversation format that gathered artists, theorists, and gamers to explore themes of play, control, and system disruption.

Click here to see more about this event.

This panel of digital artists was brought together in Maribor, Slovenia to discuss digital archiving for community by community for MFRU 2023.

My IRL contributions to the discussion were not so much about my experience as an artist, but rather as a Do-It-Together (DIT) media archivist who is currently organizing, with a couple others— a free, downloadable, public access digital archive for the Glitch Art community.

Those of us working on this project believe that the more you rely on open software, the more accessible an archive becomes. That community projects can operate with more integrity when they remain unaffiliated with any institution(s). And most of all, we actively go against writing any “defining narrative(s),” but rather aim to offer an index of searchable artists and artists’ works, as well as any affiliated history, to enable many narratives to overlap, web and be formed by people of the community, in hopes for a more holistic history to be available to those who care to have it.

At Fubar 2023 in Zagreb, I gave a talk on the limits of design and the agency of play. The short version? You can design a tool, but you can’t design how people will use it. Meaning comes from interaction, not intention.

I shared early threads from my MFA research, tracing how cybernetics and systems thinking still shape digital design today, often reducing people to predictable inputs. But play resists that. It leaks out, glitches through. From speedrunners exploiting DOOM to Jamie Fenton slamming a Bally Astrocade into art, I argued that glitches aren’t errors, they’re openings. They show the seams, and they let us push back.

This wasn’t about ideal systems. It was about friction. About players who misuse, refuse, and remake the rules. Because when systems fail to hold, play begins and that’s where things get interesting.

I was asked to write a review of a self-curated selection of works from the 2023 /’FU:BAR/ EXPO. In an effort to challenge my own aesthetic biases, I first printed only the details each artist provided about their work and avoided seeing the art itself, hoping that connections would emerge through their descriptions. A handful of pieces focused on control and deliberacy, which immediately caught my attention, especially in the context of glitches. It was a great feeling to discover that many of my selections were from artists I greatly admire and draw inspiration from. The exhibition as a whole demonstrates that precision and chaos are collaborators. From Tomasz Sulej’s meticulous GLIC codec to APIACOAB’s pixel-perfect narratives, each work shows how deliberate control can amplify disorder, transforming glitches into expressive, intentional art. Every pixel, every distortion, and every calculated anomaly can be a statement, redefining what it means to create authentically in the digital realm.

/NOT.GLI.TCH/H was held at the University of Chicago. I presented a talk about online community through the lens of my involvement with Glitch Artists Collective (GAC), likely the world’s largest Glitch Art community.

GAC was established in 2013 on Facebook first (though is also on Instagram, Twitter, and Tumblr) and I initially became involved as an artist near the end of 2014, later becoming curator, which I still am, and occasionally an admin. My talk discussed the aesthetic evolutions of glitch within the community, what questions the community concerns/ed themselves with, the importance of earnest connection + IRL gatherings, and the protective trust based + open-source principles that sets GAC apart from other internet communities.

This discussion was had during the third iteration of GlitchArtIsDead, first shown in Poland in 2015. I was one of the main organizers and curators for GAID III, which featured just over 100 artists from 13 countries, and received a grant from the Southwest Minnesota Arts Council. I moderated this roundtable discussion with Dr. Michael Betancourt, an artist curated into the show whom I asked to also lead this discussion, along with others, including Jamie Fenton, John Bumstead, Aleksandra Pieńkosz, Sabato Visconti, Kaspar Ravel, Sky Goodman and more. The conversation traced glitch art's evolution from 1980s-90s technical accidents to intentional symbolic works that challenge digital boundaries. Participants shared personal experiences with digital disruptions and explored how Glitch Art addresses themes of authenticity, community values, and resistance to commercial frameworks. We examined the physical materiality of digital art and discussed how the movement builds creative resilience within increasingly regulated digital landscapes.

Click here for the text script with “Here We Are”

Photo above taken by JimJam

Dina Karadžić-Gligo is a Croatian artist with an MFA in sculpture, specializing in animation and character design. She has curated over 20 exhibitions and co-founded Format C, developing the Pavilion darknet art collaborative in 2016 with Vedran. Dina advocates for free and open-source software in art, creating accessible platforms that challenge institutional structures and foster solidarity. Her work ensures art remains viable and inclusive despite geopolitical and socioeconomic barriers.

Click here for the text script with Dina & Vedran
please note, this is not yet edited

This is a part of a long-running project of mine where I conduct + collect interviews with artists/ researchers/ technologists to act as time capsules for topics of interest.

Vedran Gligo, a Croatian artist and self-declared Linux enthusiast who co-founded Format C and organizes FUBAR, the longest-running glitch art festival since 2015. Our conversation explored his commitment to free culture and open-source software as tools for maintaining freedom within capitalist systems. Vedran leads free workshops through Hacklab01, sharing technical knowledge to empower artists and critiquing the commercialization of digital platforms. We discussed his belief in the materiality of digital systems and how understanding these infrastructures becomes a form of resistance, as well as his work with Dina on Pavilion and their efforts to preserve and archive glitch art sustainably.

Click here for the text script with Dina & Vedran
please note this is not yet edited

This is a part of a long-running project of mine where I conduct + collect interviews with artists/ researchers/ technologists to act as time capsules for topics of interest.

Sabato Visconti, a Brazilian new media artist and photographer based in Western Massachusetts, whose glitch art critically explores digital technology and societal issues. Since 2011, Sabato has exhibited internationally, often drawing from personal experiences as an undocumented immigrant in the U.S. Our discussion covered the resurgence of glitch art among younger generations, challenges in gaining recognition in digital art spaces, and the complexities of NFTs—both their potential to empower artists from the Global South and their capitalist and environmental impacts. We explored how Sabato uses art to foster solidarity, resist oppressive systems, and build inclusive communities through intersectional practices.

Click Here for the text script with Sabato Visconti
please note this is not yet edited

This is a part of a long-running project of mine where I conduct + collect interviews with artists/ researchers/ technologists to act as time capsules for topics of interest.

2-day lecture + workshop given virtually to a class taught by RMTNKRT, within the DXARTs program at the University of Washington.

Within this lecture I spoke about the idea of “breaking an image”, how this idea influences my own work, and provided a brief introduction to glitch art past and present. I gave this lecture while playing the game I made to act as my presentation.

During the workshop students were taught several different methods of glitching: sonification via Audacity, hex editing via HxD for PC & HexFiend for Mac, and datamoshing via Avidemux.