Christina McPhee interprets landscapes as bio-tech assemblage in multimedia streams. She is engaged with the sense of place as a site of trauma and generative chaos, and explores the nexus of human/technological realties and natural processes, using iterative techniques in drawing, video, photography and interactive media. Tesserae of Venus, a fantasy project meditating on a future landscape of atmospheric carbon saturation, premiered at Silverman Gallery, San Francisco, in the fall of 2009. BOMB Magazine published a interview by Melissa Potter on BOMBlog, about the project in October 2009.

This year, 2010-11, she will be shooting a new media and film project on the maree verte, or green sea, environmental devastation on the Breton coast in France. A new drawing and installation research project, Teorema, concerns post-digital abstraction as a kind of psychic space in the intimate landscapes of home. She is currently shooting a marine / beach pollution site study on the central California coast. She will be participating in the forthcoming Silent City exhibition in London (2011) with a video installation La Conchita N=Amour (2006-8).

New critical writing about her interactive cinema work,La Conchita mon amour appears with British film scholar Sharon Lin Tay's new book, Women on the Edge : Twelve Political Film Practices, Palgrave/ Macmillan (2009)

Carrizo Diaries, a project linking human and geologic 'seismic memory' in earthquake country, involving large scale photomontage works and video installation, was the subject of a solo exhibition at American University Museum/Katzen Arts Center in 2007, following exhibitions at Bildmuseet, Umea, Sweden in 2005 and Cartes Center for Art and Technology, Espoo, Finland in 2006. The project premiered at the former Transport Gallery, a project space in Los Angeles in 2005. The project involves displacing and remapping geophysical and seismic data fields into visual and sound fields that develop a phenomenological and cultural account of the elements of landscape. She collaborates on ongoing art-science crossover research and production with seismologists and performance artists including the USGS at Parkfeld, California and DV Rogers (NZ/AU). An earlier art-science collaboration, Slipstreamkonza, involved sonification studies of microclimates of carbon absorption and release on the tallgrass prairie in 2002-2004.

Her films have recently concerned traumatic memory visualization after traumatic events. These have most recently screened at the 6th Directors Lounge Berlin 2010 for Seven After Eleven, VIBA 2009 Buenos Aires, for Recipe (evacuee cake) San Francisco Film Society's inaugural Cinema by the Bay Festival 2009 also for Seven after Eleven, Videoformes 09 Clermont-Ferrand , San Francisco Cinematheque at Yerba Buena Center for the Arts , National Centers for Contemporary Art, Moscow and Ekaterinaberg; Los Angeles Film Forum at the Egyptian Theatre, Hollywood; Studio 27, San Francisco, Pacific Film Archive, Berkeley and Itau Cultural Center Bela Horizonte; FutureVisual at FutureSonic, Manchester (2008); AmsterdamFX (2007). Video installations include a multiscreen video commission version of La Conchita N=amour for Thresholds Artspace, Perth, Scotland; Split Festival for New Media and Film (2007) and for ISEA Festival Belfast in 2009.

Recent group shows include an installation of her film SALT for "Because the Night," Guggenheim Gallery at Chapman University, Los Angeles and for "In Transit: Russia 2008" curated by NEME for the National Center for Contemporary Art, Ekaterinaberg and Moscow (2008); “War as a Way of Life” at the 18th Street Art Center, Santa Monica (2008) ; Bucharest Biennial 3: “Being There: Mapping the Contemporary” in Buchares (2008)t: "The Map: Navigating the Present," Bildmuseet, Umea (Sweden) (2009), "twice upon a time," at Galerie Andreas Huber, Vienna, 2008-9, and "Plazaville"a Turbulence.org project in collaboration with GH Hovagimyan at Pace Digital Gallery, New York (2009).

Recent critical/cultural media projects include invited conference contributions to the Queer Caucus for Art panel at College Art Association , Chicago 2010; and to the "Internet as Playground and Factory" conference at the New School, Eugene Lang College, New York, in late 2009. She was a contributing artist to the curatorial project “Violence of Participation” organized by Markus Miessen for the Lyon Biennial 2007. She was a founding moderator of the -empyre- list for digital media arts and culture based at the College of Fine Arts, University of New South Wales, and at Cornell (2001-2010) Documenta 12 Magazine Project invited her to contribute a series of discussions on -empyre- on the themes of Documenta 12, which she organized, curated, moderated and edited for D12 as a participating editor among artist-run journals in 2007. She is an essay contributor for two books on new media and political culturals initiated and edited by CTheory. She has also collaborated with artists across a range of disciplines, notably Pamela Z. She created the video for Z's opera Wunderkabinet, which had its Los Angeles premiere at REDCAT, Walt Disney Hall, in 2006. She is a juror in 2008 and 2010 for the ISEA (Inter-Society of Electronic Arts) festivals in Singapore and the Ruhr. She has also served as a juror for the Open Space net based mapping exhibition, for the Finger Lakes Environmental Film Festival 2010.

She taught drawing at Kansas City Art Institute, University of Missouri-Kansas City, and writing in new media at the University of California-Santa Cruz, where she is currently a member of the faculty of the Digital Arts and New Media (DANM) graduate program. She is a frequent visiting critic ain architectural design studios at Cal Poly San Luis Obispo. She was a visiting artist at the Columbia College Intermedia Graduate Program, Chicago, and the Department of Art and New Media at University of Illinois-Champaign/Urbana in 2009.

She was a finalist for the Fulbright Research Scholar for France, 2010; andrecipient of an American Scandinavian Foundation award (2006) for the exhibition of Carrizo Diaries in Finland. She was a Media and Visual arts resident fellow at Banff in 1999; and awarded a residency at Vermont Studio Center in 1994.

Her online projects are featured on version, Turbulence.org, Drunkenboat,Soundtoys, Artfem.tv, Mark(s)zine, and the Whitney Museum Artport. She won a Panliterary Award in video, Drunkenboat 2006.

Her media works are in the collections of the New Museum/Rhizome Artbase, Experimental Television Center, New York; Rose Goldsen Archive of New Media Art, Cornell University, Ithaca; and Pandora, National Library of Australia.

A native of Los Angeles, Christina lived in Los Angeles until the age of seven. When her family moved to rural Nebraska, she embarked on landscape explorations using drawing and photography throughout her childhood and adolescence. She returned to LA to attend Scripps College, Claremont, as a Scripps College Scholar where she focussed on printmaking and art history. She earned the BFA in painting from Kansas City Art Institute and was valedictorian. Her MFA is in painting from Boston University School for the Arts, where she was a student of Philip Guston. After Boston, she returned to Kansas City and raised two children, while developing a drawing and photo-print practice surrounding issues of psychogeographic mapping in remote landscapes. She curated an exhibition shown at several Great Plains museums, called "Reinterpreting the Land," in the early nineties. In the late nineties she began working on Pacific Rim tectonics with monotype, which led to a Burgess Shale site study at Yoho National Park in 1999 in association with Banff Media and Visual Arts. She also showed large scale works at the College of Santa Fe and in Paris at a regional gallery. She undertook detailed site studies at Zuni and Crow Canyon Archaeological Center in the Four Corners region. Her field research led to layered map-like drawings and watercolors of archaeological and geological sites in the American Southwest and Plains regions. She was represented by Dorry Gates Gallery and later Byron Cohen during this period in Kansas City. Work from this period is in collections in regional museums including Spencer Museum of the University of Kansas, Great Plains Art Collection at the Sheldon Memorial Art Gallery-University of Nebraska Lincoln, Beach Museum of Art at Kansas State University; Taylor Museum of Southwestern Studies/Colorado Springs Fine Arts Center and the Kemper Museum of Contemporary Art, Kansas City. She was a Lois Langland Alumna-in-Residence at Scripps College in 2000.

In 2001, she returned to California to live and work in the central coast.

Christina McPhee is represented by Silverman Gallery San Francisco.