there’s a party in my sketchbook (2022-ongoing)

Gestures for a Plague Season or Goodbye Earth(works) (2020-ongoing)

Premiered at The Clock Tells the Hour via Maine Writers & Publisher’s Alliance

100 Partially Obscured Views/100 Vistas Parcialmente Oscurecidas  (2018-2022)

Soft premiere Central School Project, Bisbee, AZ (2022)

Screening at Cornell Cinema (X)trACTION Program (2022)

Screening at Arsenal Berlin (X)trACTION Program (2022) *For this Berlin edition, (X)-trACTION wrote a manifesto as part of the collaboration between the Harun Farocki Institut and the Berliner Gazette’s project After Extractivism which is available here on their media partner’s website NON.

100 Partially Obscured Views / 100 Vistas Parcialmente Oscurecidasscreening at the Rio Grande Theater, Las Cruces, New Mexico in conjunction with Icons and Symbols of the Borderland, curated by Diana Molina (September 2022)

Included in a forthcoming exhibition as part of the 2022/2023 MexiCali Biennial The Land of Milk & Honey / La tierra que mana leche y miel

Gloria Anzaldúa, the renowned scholar, poet, auto historian, and the first academic to broach the topic of border theory, uses the Nahuatl word “Nepantla” to talk about the liminal space of binaries (geographic, cultural, gender, language, etc.) or in-betweenness. This space of transition or transgression offers the possibility of new-hybridizations and meaningful connections similar to the way in which an animation is formed by creating continuity between frames (also called in-betweens).

The idea of building a film about this region constructed almost entirely out of transitions was a strategy from the start. I was raised on the border between El Paso, Texas and Ciudad Juárez. In the years since I graduated from high school in 1993, I watched the two cities change in incrementally cruel ways with the implementation of federal policies that led to the obstruction of movement of people, culture, the river, and shared communities.

In 2015 I received a generous film/video grant from the Jerome Foundation which initiated the production of this film. I knew that I wanted to trace the roots of colonial treaties, policies, executive orders, and personal history to better understand this contemporary moment. I began the process by collecting vintage postcards from the late 19th century through the early 1970s as a way to track perspectives and changing notions of what constitutes a worthy image of this place and its monuments. The postcards also enabled me to respond, reflect, and interrogate the question of “what and for whom is a monument for” and how can monuments or monumentality also double as memorials. Two constraints informed my process in assembling this film. One was the idea of a film entirely composed of transitions which was to a greater degree implemented throughout the first half of the film. And the second was to only collaborate with people from this region. 

Many of the later postcards were made by Roberto López Díaz, a prominent postcard maker in Juárez, Chihuahua, and Mexico who thoroughly documented a moment that is difficult to access now. In the process of collecting hundreds of iconic postcards from El Paso/Juárez, I discovered that my childhood friend, Claudia Muñoz Helming ‘s abuelito, Roberto López Díaz, authored the majority of tarjeta postales between 1950-1980 as such became Chihuahua’s unintentionally premiere documentarian. This interview sequence (towards the end of the film) serves as an appreciation and visual bibliography at the end of the film where Claudia interviews her tía, Paty, who lived with the family and observed much of Lopez’s incredible work. Sound designer,

Jonathan Rodriguez, stitches together sonic traces of people and place, highlighting the animated transitions between views, ranging from public monuments proposals, the injustices of Mexican American labor, resource extraction, the impact of current policies on people and land, and other interrogations of a border landscape that I’ve witnessed transform into a highly militarized zone.

El Paso and Juárez share history, share people, share each other’s gaze, their differences are constructed by imperialist treaties and policies, and obstructions that insist on their difference.

The City I love is Destroying Itself (2017 for Longreads)

Animated Interview with El Paso historian David Dorado Romo

Line Becomes…(2020)

Public Domain Interventions (2018-2021)

Public Domain Review Interventions 2018-2020

I grew up hearing stories about my great-grandfather, a Jewish immigrant and tailor, who worked in various high-end department stores in Manhattan. He would save the discarded scraps from the apparel he was working on and seamlessly piece together shirts and dresses for everyone in the family. I think I’ve always been drawn to textiles and their patterns for this reason. In 2018 I discovered a Book of French Textile Samples (1863) at the Public Domain Review.

The rough square samples were composed in unpredictable ways on each page. I was curious about how the patterns could create a kind of narrative through movement. From there I began ‘weaving’ short animations into the bookplates. Later I moved onto other Public Domain Review featured books that intersected with my other interests in alchemy, biology, geometry, pattern poetry, atmospheric phenomenon, sound visualizations, water and wave formations and others. I try to create one animation a day and post to Instagram. This is meant both as a way to continue experimenting in animation, but also as a way to learn more about these fascinating text. I’ve amassed so many at this point, I now create small reels organized by text to screen in micro-film programs. I will premiered the full reel of PDR animations at North Rock Center for Sculptural Arts Summer Invitational 2020.

“Studies on Twilight Phenomena, after Krakatoa” (1888) Chromolithographs from watercolour images by Eduard Pechuël-Loesche via The Public Domain Review. I added some charcoal from this year’s fires (2020)

Attributions by bookplate:

Full reel:

2018-2019 Reel

Selections from my professional and creative test work spanning 2018-2019. Animated Essays, 2D Character Concept Animation, Clay Animation, Puppet Animation, Public Domain Review Interventions, Web Series, Educational Videos, and Book Trailer.

Dead Horse Bay: The Glass Graveyard of Brooklyn

“The Beach That Speaks” An Excerpt from Brian Thill’s Waste; Animated by Nicole Antebi


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Produced for “Dead Horse Bay: The Glass Graveyard of Brooklyn” curated by Allison C. Meier

February 1st – April 1st, 2017

Curated by Allison C. Meier

Opening reception: Wednesday, February 1st from 6-9pm.

On view: February 1- April 1, 2017

Exhbiting artists include: Nicole Antebi, Gerard Barbot, Alex Branch, Yael Eban, David Horvitz, Nathan Kensinger, Jackie Mock, Rose Nestler, Rachel Owens, Amanda Patenaude, Anna Riley, Mark Splatter, and Brett Swenson

It is easy to forget Dead Horse Bay exists. Cradled by a slender curve of shore on the southern edge of Brooklyn, between Marine Park and Jamaica Bay, it feels sequestered from the rest of New York City. Except every aspect of Dead Horse Bay is embedded with the city’s history, from its topography shaped by Robert Moses, to its name referencing the horse rendering plants that were among many unsavory businesses that disrupted its ecology in the 19th century. And then there’s the trash strewn on its beach, where everything not decomposed since the landfill beneath was closed in the 1930s is slowly revealed by the waves.

When walking along the shore of Dead Horse Bay, you soon hear the clinking sound of glass bottles as the Atlantic Ocean laps against the sand. On the beach, there is glass of every variety, from amber bleach jugs to delicate and clear perfume bottles, to green soda bottles, and blue medical bottles. Nowhere else in the city, perhaps, is the connection of glass to our daily lives so evident, as in this detritus of lives lived decades ago.

Dead Horse Bay is essential to explore now, as it is a site of disparate tensions. There are the plants and animals attempting to live alongside the visible pollution, and the consideration of greater planetary concerns with climate change threatening rising currents, which could submerge this strange place. And there’s the conflict between artists who use this as a resource and site of inspiration, and those who see it as protected as any federally-controlled park, even if it’s toxic litter. Finally, it’s the idea that in a city so dense, so developed, that there are these overlooked locations that remain, that are unpleasant and ignored, yet can tell us so much about our history and our individual impact on the world. Now our trash is mostly whisked away from the city, seemingly vanishing; here is evidence that it does not go away.

As an exhibition theme, Dead Horse Bay offers a chance to examine reuse of glass, the history of glassware in consumer goods, and how the sonic and tactile experience with glass at the place, in all its luminous colors, can be an unexpected muse.

About the curator: Allison C. Meier is a Brooklyn-based writer focusing on the arts and overlooked history. Currently, she is staff writer at Hyperallergic, and moonlights as a cemetery tour guide at New York burial grounds. She’s also worked as the senior editor at Atlas Obscura and has published stories for the New York Times, Art DeskARTNewsNarrative.lyBrooklyn Based, the Oklahoma Gazette, Oklahoma Today MagazineBust, and others.

Image credit: Triple Canopy and Phoebe d’Heurle

Waste by Brian Thill 2015 Bloomsbury Object Lessons 

sator, arepo, tenet, opera, rotas or Magic Square

The Sator or Magic Square: sator, arepo, tenet, opera, rotas, is a palindrome that can be read top-to-bottom, bottom-to-top, left-to-right, right-to-left and in a boustrophedonic, continuous back and forth. The earliest example of the ancient phrase was found in the ruins of Pompeii and in the excavations under the church of S. Maria Maggiore in Rome. It is often referred to as a Magic Square for its historic use as a device invoked in magical incantation.

The Magic Square, a recent visual music collaboration between Melissa Grey (sound), Nicole Antebi (animation) and featuring music by electronic music pioneer, Vince Clarke, premiered at The Morbid Anatomy Museum on May 19, 2016 along with an illustrated lecture by Colin Dickey on the history of magic squares and the mystical powers of palindromes.

Bargello Magic (2015)

Borgello Magic Still 4

Bargello Magic is a stop motion animation turning needlework into pixels and borrowing imagery from the 1972 book of the same title authored by Pauline Fischer and Anabel Lasker. Bargello Magic will be premiering at Winter Shack‘s CineSauna February 14th 7-9 CineSauna is a Microcinema inside a Sauna, inside a Shack, Inside a Community Garden

Borgello Magic Still 5

Alex watching Bargello Magic Lauren Cannon watching Bargello MagicBargello Magic in situ at CineSauna at Winter Shack