The future is a constant wake centers soil as a conduit for sustained engagement with previous generations. Developed in collaboration with choreographer Michael J. Love, Jackson proposes a somatic way of forging connection with the past through touch and movement.

We would be freer is a short film reflecting on the relationship between native plants and people. The film looks at the sumac plant (from staghorn sumac), which is native to parts of Turtle Island, as well as Tanner’s sumac, native to the eastern Mediterranean, which is a dire medicine, a powdered spice, a dye, and more. The film weaves together the voices of two women, one from the Mohawk community of Kahnawá:ke and the other an internally displaced refugee in Ramallah. Mimicking the progression of the plant’s flowers from yellow to green to red, the short film is a cyclical reflection on the connections between land, sustainability, and wild plants.

Fields Fallen from Distant Songs is an experimental film loosely inspired by Jeffereis' great-grandparents' history as Japanese immigrant labourers on Hawaiian sugarcane plantations. The film contends with contemporary questions of sovereignty, solidarity, and hauntings of the past as they persist in the present. A cross-temporal narrative unfolds as ghostly images flicker across the screen: found footage of workers on the plantations interspersed with Japanese folk songs, poetry, 16mm home movies shot by her grandfather in the 1960s, and the artist’s own footage of the eruption of Kīlauea in January 2023. The material, economic, and cultural connotations of sugar are inextricable from histories of migration and displacement. Jeffereis attempts to reframe this narrative by exploring notions of rematriation—of returning ancestral land.

Through storytelling, this film looks at the sumac plant as medicine, spice, dye, and more. Staghorn sumac is native to parts of Turtle Island and tanner’s sumac to the eastern Mediterranean. Weaving the voices of two women, one from the Mohawk community of Kahnawá:ke and the other an internally displaced refugee in Ramallah, we would be freer invites contemplation on the role of sumac in two occupied lands. Mimicking the progression of the plant’s flowers from yellow to green to red, the film offers a cyclical reflection on connection to land, sustainability, and wild plants.

The future is a constant wake centers soil as a conduit for sustained engagement with previous generations. Developed in collaboration with choreographer Michael J. Love, Jackson proposes a somatic way of forging connection with the past through touch and movement.

Fields Fallen from Distant Songs is an experimental film loosely inspired by Jeffereis' great-grandparents' history as Japanese immigrant labourers on Hawaiian sugarcane plantations. The film contends with contemporary questions of sovereignty, solidarity, and hauntings of the past as they persist in the present. A cross-temporal narrative unfolds as ghostly images flicker across the screen: found footage of workers on the plantations interspersed with Japanese folk songs, poetry, 16mm home movies shot by her grandfather in the 1960s, and the artist’s own footage of the eruption of Kīlauea in January 2023. The material, economic, and cultural connotations of sugar are inextricable from histories of migration and displacement. Jeffereis attempts to reframe this narrative by exploring notions of rematriation—of returning ancestral land.

Made by recycling old photos and postcards as well as repurposing the panorama technique that is a form of photography in time, Creases of Time connects different aesthetics and modalities of representing time. The animation belongs to a series of videos in which I explore the use of “improper” media to make moving images.

side by side, i stand inside this bona fide global divide. a rising tide approximately 70,000 wide. in my mind, through my mind, the realization of a subdivide. vocal demonstration is a personal reflection, after witnessing an incredibly minute

representation of people of colour at the summit of the americas demonstration in québec city, 2001.

An homage to the 1982 Sabra and Shatilla massacre and the ongoing genocide of Palestinians, this film offers a reflection of the past, its present context, and forbearance. As Abdel Majid Fadl Ali Hassan recounts a story told by the rubble of his home in Palestine, the tape transforms into an intense essay on dystopia in contemporary times.

Undone is a one-channel video work, made up of found footage of bombings: Ukraine by Russia, Palestine and Syria by Israel, Afghanistan and Iraq by the United States. By zooming into and rewinding the footage, Afshar aborts the attacks and deflates the violent consequences of armed conflicts, while the layered soundscape—from an anxious heartbeat to a dying pulse—places humanity in an atmosphere of chaos. Undone imagines the possibility of “undoing” the acts of violence that continue to mark our present moment.

Part of paraconsistent sequence series.

In RPGs (role-playing games), one could say that real life can be rehearsed in a superstitious manner, with supernatural beings and worlds. Since the emergence of computer processing power and video games, the third world was a source for worldbuilding and space to apply game tactics. Those games are not isolated from the socio-cultural and political environment that they are developed in. On the other hand, third-world gamers, developers, streamers, and hackers managed to modify those games and apply their own hyperreality in order to rehearse their world. This project explores how Palestinian players, Grand Theft Auto mods, and servers are simulating real life under colonial rule. Like An Event In A Dream Dreamt By Another - Rehearsal examines Los Santos as a corollary to Palestine.