Christina McPhee engages a psychogeography of environmental risk and traumatic memory in layered, baroque visual and media suites. Her photography and video work is in the next Bucharest  Biennial (BB3), May-June 2008, an interactive remote landscape/ 3 channel installation, Latency Structures Bonneville Salt Flats, premiered at the Split Festival of New Media and Film, in September 2007. La Conchita mon amour, on shrine building in the aftermath of a California mudslide, opened at Sara Tecchia Roma New York in 2006, and continues in 2008 with a 3 channel, 22 screen commissioned video installation for Thresholds Art Space, Perth (Scotland). Her multi-media and photographic project on seismic memory, Carrizo Parkfield Diaries, has shown in solo exhibition at the American University Museum/Katzen Art Center in 2007; and in smaller iterations for InteractivA07 Biennial, Cartes Centre for Art and Technology,  Bildmuseet, Itaù Cultural Centers and the Pacific Film Archive since 2005, when the project premiered at Transport Gallery, Los Angeles, and online with the Whitney Museum of American Art (Artport). Her writing and net art appear with Turbulence, VIROSE, CTheory, Neural, Drunkenboat, and Soundtoys; and in print for the MagNet Reader 3 (2008). She created video sets for Pamela Z's electronic solo opera, "Wunderkabinet" which debuted at the REDCAT Theatre, Los Angeles, in October 2006 after opening at the Lab, San Francisco in 2005. For -empyre- network, Sydney (www.subtle.net/empyre) she has been a moderator/editor since 2002 and was a participating editor in the Documenta 12 Magazine Project (2006-2007). http://christinamcphee.net