Lumenforms

Lumenforms is a series of alternative photographic works created by placing botanicals onto expired photo paper and exposing them to direct sunlight. In this process, images are allowed to emerge through gradual chemical reactions, later refined through digital post-processing.

Initiated in 2025, the series marks a shift toward a slower, more physically grounded methodology. Developed in response to Pritts’ health challenges, the work prioritizes presence and a tactile engagement with the natural environment. It is further expanded through animation, where the stillness of the chemical print is transformed into a meditation on moving image and the passage of time.

Analog Anatomies

Analog Anatomies utilizes Pritts’ own medical imaging as source material for animation, print, and analog video processing. By passing these scans through circuit-bent hardware and risograph printing workflows, the inherent coldness of diagnostic imaging is stripped away to reveal a more human, textured interior.

This process presents the experience of illness through the lens of the shifting, sensory landscape of the physical self. The resulting series functions as both a record and a response; an ongoing negotiation between the vulnerability of the body and the endurance of spirit.

Low Fever

Low Fever is a series of self-portraits created in response to Pritts’ experience living with the rare disease DADA2. The work emerged during a period of hospitalization as a way of grounding and processing a body in flux.

Moving away from abstraction, these images sit directly with lived experience and the reality of mortality. Pritts translates moments of fear and defiance into carefully constructed visual environments. The works hold a tension between control and surrender, where the act of image-making becomes a way of staying present within significant uncertainty.

Glitch Fleurs

Glitch Fleurs is a series of videos and prints built from timelapse footage of flowers blooming and decaying. By processing these natural cycles through intricate layers of analog video synthesis, Pritts transforms fleeting moments into vivid, shifting fields of color. The works invite a closer awareness of time, impermanence, and the continuous movement between growth and decline.

The series premiered in her solo exhibition, In The Screen I Am Everything, at bitforms gallery in 2023 and has since been widely exhibited and collected internationally.

Froges

Froges is a long-standing multimedia body of work spanning video, illustration, and sculpture. It is driven by a lifelong fascination with the frog as a vessel for transformation. Through deliberate shifts in scale and context, Pritts reworks the familiar into something surreal and unexpected, using the charm of the ordinary to provoke curiosity and a heightened state of presence.

Long rooted in video and illustration, the project evolved into sculptural practice with the sculpture Froge, which premiered and was acquired at Untitled Art Miami 2024 with bitforms gallery.

Protopia

Protopia is a series of digital paintings and illustrations that construct a speculative world populated by surreal figures, landscapes, and invented forms of floriculture. First presented in Pritts’ solo exhibition, Calderúnicae, at the Ludwigsburg Museum (Germany, 2024), the series utilizes generative systems to explore the architecture of imagined environments and their inhabitants.

Across the work, human-like figures appear alongside unfamiliar terrains to form a visual language that moves between portraiture and world-building. These works examine the blurred boundaries between internal and external realities, a theme further developed in her 2025 solo exhibition soft & sudden & forever at Mana Contemporary in Chicago.

Signalforms

Signalforms is a collection of analog video works marking a shift in Pritts’ practice during a period of isolation in 2020. The works represent a move away from a primarily photographic approach toward the study of video synthesis. This collection includes independent works, collaborations, and commissions unified by a focus on how images are constructed, destabilized, and reformed through analog processes.

Arid Articulations

In Arid Articulations, the desert is treated as data. This series of 33 video works and prints uses the rugged topography of Joshua Tree as catalyst for a feedback loop of AI and analog circuitry. The series was created for the In Medias Res exhibition at the Torrance Art Museum in 2024.

By pushing landscape through modular synthesis and circuit-bent hardware, Pritts dissolves the line between documentary and generative process. The result is a series of shifting perceptual states where the environment is perpetually deconstructed and reformed.

Chroma

Chroma investigates the boundary between observation and abstraction through a series of hyper-saturated vistas. By reworking photographic source material through a gauntlet of layered analog and digital processes, Pritts isolates color as a transformative force; stripping the terrain of its naturalistic context to reveal new visual possibilities.

Selections from the series headlined her solo exhibition, Spectral Horizon, at Substrate Gallery (Los Angeles, 2019), a benefit project in support of the Mojave Desert Land Trust and the Joshua Tree National Park Foundation.

Reverse Zoology

Reverse Zoology is a series of 100 unique video works created in collaboration with engineer Stevan Dedovic, which premiered at Kraftwerk Berlin in 2022. The series combines analog video synthesis, generative AI, and custom code to produce continuously transforming forms.

The project centers on mutation as a generative condition where form remains in constant flux. A work from the series was later included in Bright Moments’ Complete Works collection, a landmark survey of leading digital artists. In 2024, the collection was featured in the Post-War to Present auction at Christie’s London, which realized over £200,000.

Racer Trash

Co-founded by Pritts in 2020, Racer Trash was an artist collective that defined a new era of remix culture. As the architect of the group's signature aesthetic, Pritts established a high-energy, glitch-heavy visual language that reinterpreted cinema through the lens of live-streamed video art. Recognized for its punk-ethos and technical innovation, Racer Trash was hailed as “the future of cinema” by The Verge.

The collective’s broadcasts supported charitable causes while drawing contributions from both emerging editors and established directors like Adam Wingard (Godzilla vs. Kong). The project’s influence culminated in a three-night takeover of TIFF’s Midnight Madness in 2021, bringing its chaotic, live-streamed energy to in-person screenings at The Royal Cinema. 

Photography

This early body of portraiture represents the genesis of Pritts’ career. Documenting musicians and artists for publications including SPIN, Pitchfork, and VICE, these images established a distinct visual language defined by a heightened use of color and light.

These works are informed by early training in film and darkroom techniques, a foundation that would later evolve into more experimental methods of image-making. This period marks the beginning of an ongoing exploration of how environments and subjects can be translated through specific technical processes, a theme that remains central to her practice today.