Telematic Media Arts, San Francisco
June 27 - August 22, 2026

Opening Reception: June 27, 6-9pm

Panel: Show Me Your Bottom Line: Art and Eco-Punishment
w/ Nicole Starosielski, Natalie Loveless, and Jennie Klein
July 18, 2-4pm

The man is hooded. The artist slaps him across the face. Wearing a harness fitted with a four-foot strap-on whip woven from electronic waste, she dips the implement into lithium-rich water and flogs him repeatedly. She takes up a series of wooden paddles coated in graphite and spanks him. Throughout, she administers a series of intimate humiliations involving bodily residue.

Hard Reset: An Eco-Humiliation Ritual asks what it would mean to make the people who profit from technological systems answerable through the body. The cloud, the data center, the battery, the executive decision—these things often feel distant and untouchable. This project brings them into a room and gives them weight, smell, pressure, embarrassment, and consequence.

At the center of the installation is a staged encounter between the artist and an anonymous executive. His identity is concealed, but his role within systems of technological power is central to the work. Using materials tied to the physical infrastructures of computational power (graphite, lithium-rich water, and electronic waste) combined with bodily residue, Miller performs a series of humiliating actions that form a constellation of punishment, kink, satire, ritual, and ecological reckoning.

The work took shape over several months of research and preparation. Miller visited mining archives, lithium-enriched springs, and lithium evaporation ponds, tracing the materials and extraction processes that make contemporary technology possible. She also trained in BDSM houses in San Francisco and Los Angeles, approaching humiliation not only as a metaphor, but as a disciplined practice grounded in its own ethics and performance language.

The sculptural installation unfolds across four screens embedded into a plywood stage, each showing a different view of the performance. On two screens, figures in white coveralls reminiscent of cleanroom workers in computer chip factories prepare the ritual materials, coating paddles in graphite and anointing the e-waste whip with lithium water and urine. Another screen shows the executive’s point of view, placing the viewer inside the intimacy and discomfort of the encounter. A fourth screen shows the scene from above, like surveillance footage, holding the entire ritual together from a cold, distant perspective.

Rather than offering a clean fantasy of justice, Hard Reset sits with the messiness of accountability. The executive is implicated through business decisions that ripple outward into vast geographies that will affect future generations. The artist is implicated too: the ritual offers the immediate satisfaction of symbolic punishment, while leaving open the uncomfortable question of whether that gesture produces any measurable change. And the viewer is complicit too. The work invites the pleasure of watching, judging, laughing, and feeling clever in the space of art, while also confronting a more ordinary refusal: most of us know our technologies come at a cost, and most of us are still unwilling to give them up. Hard Reset turns that contradiction into spectacle, asking what accountability can look like when everyone in the room is already part of the system.

Awards: C/Change R&D Lab Award from Goethe Institut SF and Gray Area
Berkeley Center for New Media Seed Award

Other team members:
Asma Kazmi, artist
Kathy Wang, designer

2023 - Ongoing

Missing Objects Library (MOL) is a curated, web-based repository of handmade 3D objects that are designed with an intersectional, feminist lens. MOL is displayed as both a physical video installation and a web-based, free model library. MOL offers an alternative to commercial, status quo storefronts that provide digital assets for game design and special effects. Objects sold in these spaces are typically devoid of provenance, and they continually reinscribe false notions of neutrality while privileging a white, cis, heteronormative dominance. In contrast, MOL is an open platform with downloadable models that accurately represent the world we inhabit. MOL disrupts historical gatekeeping performed by “neutral” marketplaces by offering 3D modeled objects that span a wide range of identities, abilities, and affinities. In addition to critiquing existing 3D model storefronts, MOL builds community by offering an economic system of reciprocity, where technological representations of things are exchanged to produce meaningful relations and effects.

Current themed cabinets being developed with MOL include: cloud server farm infrastructures, extinct plant specimens, hidden hygiene objects (tampons, hospice care supplies and equipment, artificial limbs, chest binders, etc), and non-Western display and presentation furniture. MOL creates and amplifies objects that have been ignored, dispossessed, or refused representation in emerging 3D spaces. Each theme’s objects are housed in a custom cabinet designed to be in conversation with its contents.

Made in collaboration with Asma Kazmi.

Carbonivore is a speculative chimera—part animal, plant, mineral, and machine—assembled from 2,000 pounds of reclaimed e-waste. Its tangled mass of cables, server racks, monitors, and cooling systems recalls the concealed infrastructures of the global data economy. Pulsing with simulated consumption and waste, the creature acts as a parasitic agitator, embodying the voracious appetites of the Cloud, Big Data, and AI.

The installation brings into view the immense power demands of server farms—architectural behemoths that often consume more electricity than entire cities—while tracing the rare earth minerals that underpin every digital device. The extraction of cobalt, lithium, and other elements links personal technologies to networks of ecological devastation, exploitative labor, and species extinction. Animated video sequences collapse these distances, reattaching technological detritus to its geological origins and reminding us that digital culture is never divorced from the earth it exploits.

Rather than presenting extraction as a closed system, Carbonivore emphasizes its unfinished and entangled consequences: toxic residues, disrupted ecologies, and precarious forms of human and nonhuman survival. These entanglements persist in the creature’s “offspring”—surreal forms composed of lithium, cobalt, and silicon—that extend the speculative ecosystem across the gallery. To witness these elemental figures is also to confront the mines, quarries, and evaporation ponds from which they were torn.

By exposing the hidden infrastructures of computation, Carbonivore insists that digital technologies are not immaterial but grounded in vast ecologies of matter, energy, and labor. It calls viewers to reckon with the planetary consequences of technological progress and the fragile futures entangled in its wake.

Exhibited at:
Carbonivore, Gray Area Art Gallery, San Francisco
More Than Meets AIExhibition at the Worth Ryder Gallery
and
Internet Tour: Invisible Infrastructures and AI Hallucinationsorganized by Mario Santamaria

Commissioned by Museum für Gestaltung Zürich for the exhibition "Museum of the Future" on view 29 August 2025 - 1 February 2026.

Made in collaboration with Asma Kazmi

Electronic Memory is a video collage that digitally reimagines the Electronic Memory–Model 80-1, a mid-century wire sound recorder held in the collection of the Museum für Gestaltung Zürich. Originally manufactured in Chicago in 1948, this portable device marked a pivotal transition in the democratization of sound documentation, bridging wartime engineering and postwar domestic technologies of listening and preservation.

Through the act of digital reconstruction, Kazmi and Miller transform the device into both subject and medium of inquiry. Drawing on archival sound recordings dispersed across international collections, the artists compose an abstract, textural soundscape that foregrounds the recorder’s technical limitations—its narrow frequency range, monaural fidelity, and the incidental acoustics of crackle, hiss, and distortion. These auditory residues are not treated as noise to be erased, but as aesthetic and historical indices: material traces of a world learning to hear itself anew in the aftermath of war. In Electronic Memory, the artists invite reflection on how this proto-digital instrument resonates within contemporary regimes of data, storage, and affect—suggesting that the ghosts embedded in obsolete media continue to vibrate through today’s circuits of remembrance and reproduction.

3D modeling and photogrammetry by Quincy Paulos.
Audio Engineering by Virginia Vassilakou.

The accelerated disappearance of species in the present era—often termed the “sixth extinction”—signals not only ecological devastation but also a profound crisis of imagination. Extinction is never purely biological; it is also cultural, reshaping how humans conceive of time, kinship, and responsibility toward the more-than-human world.

Impossible Pictured intervenes in this terrain through speculative acts of digital resurrection. The series reanimates vanished species by means of photographic manipulation, situating them within both familiar habitats and estranged, at times humorous, contexts. This oscillation between ecological fidelity and fabulation foregrounds the tension between scientific reconstruction and cultural desire. In this way, the work aligns with Donna Haraway’s notion of “speculative fabulation”—storytelling practices that invent possible worlds not to escape reality but to cultivate new forms of response-ability.

Situated at the intersection of visual culture and environmental humanities, the series asks how images might operate as sites of both mourning and possibility. The digitally resurrected creatures become “companions in speculation,” figures through which we grapple with the ecological voids left behind and the ethical obligations that emerge in their wake.

Exhibited at:
Impossible Pictured, Municipal Historical Museum of Écija, Spain

(50 Alternate Album Covers to Thrash and Burn)
2023

PRESS: Artnet // Billboard Magazine // Boing Boing

ARTIST BOOK

NFT drop with TAEX

I recently discovered that an indie musician from Los Angeles named Ariel Pink had used an unauthorized photograph of me on one of his album covers. The record, titled Thrash and Burn, was released in 2006 and remastered and reissued in 2013 by German record company Human Ear Music. Both printings feature my face on the cover without my consent.

Ariel Stinks (50 Alternative Album Covers to Thrash and Burn) is a series of 50 alternative album covers I’ve made in response to the Thrash and Burn cover emblazoned with my unauthorized image. Working in collaboration with artificial intelligence software, I’ve created a series of images that use humor and parody to address the original cover’s violations to personal rights and offenses to good taste. I leave the words “ARIEL STINKS” but swap the original cover for 50 different versions that feature Ariel Pink, rather than me.

Ariel Stinks (50 Alternative Album Covers to Thrash and Burn) is an alternative to litigation. Launching in January 2023, the series will be available in three ways:

1. An NFT drop curated by Margarita Kuleva through the curatorial forum TAEX

2. A photography book with an essay and 50 images of the alternative album covers

3. A free digital album cover to replace the existing cover on your electronic music platforms.

Dog Pack is an augmented reality environment that uses the Institute of Contemporary Art SF as a site for exploring Dogpatch neighborhood lore in a fantastical and fabulative way. The work combines virtual objects with the physical space to create a hybrid ecosystem where visitors engage in a participatory artwork.

The ICASF is a new museum space in the Dogpatch neighborhood of San Francisco. Drawing on urban legends about the origin of the Dogpatch name, Dog Pack is a site-specific project that explores and embellishes local lore about wild dog packs roaming the neighborhood, feeding off of slaughterhouse scraps from 3rd Street processing plants. These dog packs purportedly “ruled” Bayview and Dogpatch neighborhoods from mid-1800s for the next century as the neighborhood shifted from rural to industrial. While there are three competing stories about the origin of the Dogpatch name, this work focuses on one: wild dogs.

By situating the audience-participant in both a virtual environment and a physical space, Dog Pack blurs the boundaries between the real and the imagined, the historical and the present. The work grounds itself in the conceptual art of the 1960s, a time when questions about the nature and necessity of the physical art object were primary. The project nods toward modern-day artmaking, where semiological questions about the nature of art have new meaning as technology has advanced and AR objects are both “here” and “not here” simultaneously.

Dog Pack is a collaboration between Jill Miller and Melody Chang, with Yuting (Kathy) Wang as the Project Technical Lead. Dog Pack is embedded within the existing gallery installation by Chris Martin - any black and white texts in these images belong to him. Special thanks to Paxton Paulos and Adam Huth for some on-the-fly design work.

2005

Waiting for Bigfoot was a performance-installation that was located in the Sierra Nevada remote wilderness while simultaneously projected into a gallery space in Norwich, England. The campsite was situated in a geographical area with a high incidence of Bigfoot sightings. Throughout the 6 week performance, a live feed of the campsite could be viewed both in the gallery and online. Participants from around the world tracked the feed and reported possible sightings in a citizen science fashion. The artist consulted a cryptozoologist who helped create a reading list and advised the artist on ways to habituate a Bigfoot as Jane Goodall had done with the chimpanzees. The Bigfoot Field Researchers Organization (BFRO) connected the artist with people who had experienced Bigfoot sightings. 

More details and full statement HERE.

EAST International exhibition, Norwich Gallery, England

work in progress!

Using plant samples from the UC Berkeley herbarium and digital databases across the world, the artist meticulously reconstructs extinct flora species using 3D rendering software and “plants” them into the precise site where they were last documented in the wild. Building on Donna Haraway’s theory of partial reconciliation or “getting on together,” this augmented reality project folds extinct species into contemporary places where natural ecosystems have been disrupted by human industry and culture.

This project is not about choosing between utopian visions or dystopian nightmares; it imagines an imperfect but sustainable future-possibility. A place where there is an intricate web of multi-species narratives, where speculative fabulation thrives.

2014-15

Unsung Hero is a video that uses GoPro cameras and the company's own marketing videos to challenge gender stereotypes and heroism. GoPro's slogan is Be a Hero, yet the videos on their YouTube channel feature men  engaging in extreme sports (motocross, surfing, snowboarding, etc) and women wearing mermaid tails in the ocean. Unsung Hero humorously splices mothers performing domestic duties and childrearing into the company's videos.

Go Pro videos are shot and edited to give us multiple perspectives, reinforcing a scopophilic effect. You get to be the watcher and the one who is watched. You are the primary actor who delights in the feeling of being adored while simultaneously adoring the actor. Further pulling us into identification with the masculine gaze is the fast paced editing sequences, all set to an ejaculatory, frenetic pace.

This video is one in a series of 3.

The FAB Gallery, University of Alberta, Edmonton
2016

2004

A feminist mash up of John Baldessari's classic 1971 video, "I am Making Art."

In the collection of The Hirshhorn Museum and Sculpture Garden, The Reinking Collection, and CA2M Centro de Arte Dos de Mayo.

2004

The artist posted a craigslist ad, "I'm making a video portrait of Jean Auguste Dominique Ingres' Les Grandes Odalisques. Please contact me if you can be my odalisque." The ad also included a photograph of the original painting. 

After documenting dozens of participants, the result was a video installation of 20 video portraits. The videos were synched so that models turned and looked past the viewer and at each other. Participants included: a bartender, a retiree, a woman who survived breast cancer, an Intersex person, a stay-at-home mom, a fashion designer, a nudist, and more. 

New Wight Gallery, UCLA
Wind Tunnel, Art Center College of Design

2018

When people put on an AR/VR headset, they expect to be entertained. This project is a refusal. The Liar environment dynamically surrounds the AR participant with a circle of disembodied female hands pointing at them. The hovering, uncanny hands intermix with the real visitors within the gallery space, creating an unstable landscape. No matter where the participant turns or moves, the disembodied pointing fingers emerge and follow. Do they adore or accuse? Over time, the playful attention begins to suggest something more sinister, provoking discomfort. Inspired by the #MeToo movement and the countless women who weren’t able to come forward and tell their stories.

Worth Ryder Gallery
UC Berkeley 2018

2013-15

Body Configurations is a series of photographs that respond to the confinements of domestic space. Inspired by Valie Export's photographic series by the same name, this work brings the camera into familial quarters and physically manifests the burden of primary caregiver.

Sesnon Gallery, UC Santa Cruz

2007

After 6 months of training with a private investigator, the artist surveilled multiple Bay Area art collectors' homes and vehicular activity. The result was hundreds of photos and hours of surveillance video which formed an installation modeled after FBI profiling boards. A tabloid designed after The Enquirer was available for sale at the exhibition.

2nd Floor Projects, San Francisco, CA