BRIClab 2023-2024 Video Art Artists

DaeQuan Collier uses documentation, response, and reimagining to provide commentary on life and adversity through the lens of a Bronx native of color. Using mediums such as poetry, sound, film, installation, and performance, Collier strives to produce comprehensive creations that blend personal and socio-political narratives. Collier presents, A place in the sun: and other things I tell myself on hopeless days, a four-channel video installation that combines poetry, archival home videos, music, found clips, family interviews, and stylized surrealist scenes to explore and document an artist’s journey to healing and liberation and to examine how Black people find their way to emotional wellbeing.

Collier’s films have been shown at the Oxford Film Festival, Show Me Justice Film Festival, and the NYU Social Impact Film Festival, among others. He was awarded best BIPOC Director by Argo Untold Stories Short Film Awards and Best Social Justice/Investigative Short from the Shortie Film Festival. Collier received his MFA from Emerson College.

Eliza Lu Doyle is an artist and educator whose work encompasses video, performance, installation, and writing. She uses filmmaking as a tool to stage social encounters and build relationships. The School of Falling Bodies is a series of videos that closely examine practices of falling while riffing on the genre of the instructional video. The work builds upon Doyle’s extensive research into rituals of collective physical training and conditioning, such as wrestling, intimacy coaching, and battle reenactment. She is engaging individual "instructors" through demonstration and mimicry, attempting to capture the transmission and inscription of embodied knowledge.

Doyle’s work has been shown at the Bushel Collective, Westbeth Gallery, All Street, and Anthology Film Archives, all NY; and the Museum of Contemporary Art Arlington, VA. She earned her MFA from the Mason Gross School of the Arts at Rutgers University and her BFA from the Rhode Island School of Design.

Eriko Tsogo, a Mongolian American artist and cultural producer, melds visual art, film, and socially-engaged projects. Her work explores the complex space of a first-generation Mongolian American woman straddling Eastern and Western cultures, delving into themes of identity, culture, and the concept of home. The ENTEREXIT PROJECT prompts viewers to reconsider movement: through a collection of short digital animations, Tsogo collaborates with immigrant leaders to bring their stories to life within immersive three-dimensional sculptures, crafting a boundary-blurring exploration of mixed migration narratives and the choices immigrants and refugees make regarding home and departure, shedding light on contrasting aspects of the American immigration system and showcasing individuals' resilient pursuit of a borderless existence.

Tsogo has shown work at the Currier Museum of Art, Manchester, NH; the Contemporary Mongolian Art Biennial, Washington, D.C.; Museum of Contemporary Art Denver, Redline Contemporary Art Center, Center for Visual Art, Metropolitan State University of Denver, all CO; and Art Basel Miami Beach, FL. She received a “Juuh” Honorarium from the Mongolian Ministry of Education Culture and Science, an Alliance for Artist Communities Fellowship, and a Joan Mitchell Foundation Grant. She is one of the creators of Mongovoo Temple at Meow Wolf Denver. Tsogo has held residencies at Platteforum Artist Residency, Currier Museum, and Fountainhead. She holds an MFA from the School of the Museum of Fine Arts at Tufts University. She is represented by Tappan Collective.

Multidisciplinary artist and performer Olivia Rose Barresi uses their body and voice to playfully approach the unanswerable questions of how to be, what to have faith in, and why. An empathic skeptic, her work seeks to understand the motivations behind humanity’s need to believe in the extraordinary. She has performed with established arts organizations throughout the New York City area, and developed multidisciplinary work for independent collectives both at home and further afield. Some of these include The Public Theater, Manhattan Theatre Club, New York Theatre Workshop, the Drama League, counterclaim, Penguin Random House Audio, and the New Museum. Barresi holds an MA from the London Academy of Music and Dramatic Art.

Photographer and filmmaker Emily Barresi draws from her family's theatrical and motion-picture background to perceive the world through the dual lenses of melodrama and monotony. Through collaborations with community members, she delves into magical realism on a local scale, aiming to uncover shared aspects of dreams, fears, and life stories. Her photographic and film work has been exhibited both nationally and internationally, with two recent solo shows at the Museum of Fine Arts and Space Place Gallery, both in Nizhny Tagil, Russia. She has created on-site video installations in several group exhibitions at spaces including UTA Artist Space, Los Angeles, and David Zwirner Gallery, New York. Barresi holds an MFA from Yale University, and currently works as a cinematographer on independent projects throughout the Tri-State area.

As a filmmaker and sound artist, Rachael Guma employs a hands-on technique, experimenting with various mediums such as film, paper collage, animation, and unique audio elements like foley and theremin. Her work often explores motion studies, deconstruction, the interplay of sound and image, improvisation within constraints, and serendipitous moments, while her fondness for stop motion animation allows her to convey unconventional narratives infused with humor and lightness. Her BRIClab project, Extra Ultra Super Gal, is a stop-motion animation based on the Sesame Street segment Teeny Little Super Guy. This project is part of a series addressing women's health through animation, with Super Gal, a talking tampon, leading efforts to discuss and educate about taboo topics. The pilot episode sees Super Gal team up with her companions to address period overflow issues.

Guma’s films have screened at the San Francisco Cinematheque, RX Gallery, Mono No Aware, Northern Flickers, Anthology Film Archives, UnionDocs, AXWFF, Echo Park Film Center, and Microscope Gallery. Guma holds an MFA from the San Francisco Art Institute.

Yasi Ghanbari employs an interdisciplinary critique-based practice to explore expressions of privilege, identity, and engagement. Through personal experiences and research, she examines interpassivity, including conscious consumerism and hashtag activism, often involving herself as a character to highlight her interpassive role. Her recent research on ability, health, and productivity, spotlights challenges in securing and maintaining support within institutional and cultural contexts. Chronic combines audio derived from doctor's notes and theories on visibility, diagnosis, and embodiment. Filmed exclusively through a microscope as a metaphor for healthcare's fragmented approach to the body, the project aims to provide a nuanced glimpse into the experience of sick bodies within the healthcare system and ableist culture.

Ghanbari has shown her work at Paradice Palase, the Museum of the Moving Image, Fastnet, Anthology Film Archives, Essex Flowers, The Elizabeth Foundation for the Arts, and NARS Foundation, all NY; the Grace Street Theater at Virginia Commonwealth University; Heaven Gallery, Chicago, IL; and University of Massachusetts, Amherst. She has participated in the Sharpe-Walentas Studio Program and the SHIFT Residency at The Elizabeth Foundation for the Arts. Ghanbari attended the Skowhegan School of Painting & Sculpture and holds an MFA from School of the Art Institute of Chicago.