Bernie-Life with a Standard Poodle

If Water Could Talk

Installation view, Walker Art Center, Minneapolis, 2017

If Water Could Talk is an immersive moving-image installation that gives voice to water as a living presence, witness, and carrier of memory.

The work emerges from the protest and conflict at Standing Rock, where Indigenous water protectors defended sacred burial sites from desecration while confronting environmental destruction and state violence. Through animation, projection, layered imagery, recorded voices, and sound, KatMoon creates an emotional and mystical experience of water’s relationship to human life.

The installation begins in an ordinary living room. Suddenly, the wall fractures and water bursts into the domestic space, collapsing the distance between environmental crisis and daily life. Its arrival becomes an urgent demand: I need to burst into your living room. I need your attention now.

The work traces water through birth, childhood, swimming, animals, and the landscapes that sustain us. These intimate images gradually collide with oil infrastructure, pollution, protest, and violence. Animated bullets cross the visual field while recorded voices repeat, “We are people.” Water becomes the speaking presence of the work, bearing witness to both the life it sustains and the harm inflicted upon it, the land, and those who rise to protect it.

In the final movement, grandmothers arrive to bless the water and sing the Water Song. Their bodies gradually merge with the water, transforming protest into ceremony and political resistance into spiritual continuity. Water becomes ancestor, witness, and living memory.

Projected onto architecture, If Water Could Talk turns the built environment into a site of rupture, attention, and remembrance. The work asks us to encounter water not as a commodity, but as a sacred presence with its own voice.

Digital video installation with animation, projection, recorded sound, and music · 4:33 minutes

The Broken Hallelujah

The Broken Hallelujah is an autobiographical digital moving-image work created from personal drawings, sketchbook imagery, text messages, voicemail, job rejection, animation, and an original soundtrack.

The work asks what it means to be a woman in a culture where worth is measured through visibility, desirability, employment, attention, and response. Moving through social media, hookup culture, objectification, rejection, and the performance of femininity, the female body appears as person, image, commodity, anatomical subject, and projected fantasy.

KatMoon begins with a feeling and asks: What does this experience feel like—and what color is it? The answer becomes a saturated visual world of purple, red, orange, glowing screens, silhouettes, social-media reactions, handwritten language, and fragmented bodies. Humor and seduction gradually give way to anger, grief, exhaustion, and spiritual transformation.

Although drawn from the artist’s own life, the work expands beyond memoir to examine how women are continually evaluated—by lovers, employers, digital platforms, beauty standards, and themselves. The “broken hallelujah” is not a perfect resolution. It is the moment when humiliation, longing, and disappointment are transformed into something sacred.