My work is rooted in photography’s ability to collect time, to knead one instant into another. These collections are stacked, pleated and collapsed like bellows, then solidified into form. When presented, the photograph affords the ability to pull apart that accumulation, to stretch it far enough so that it gestures toward, but never reproduces, the familiar.

Beneath my work lies endless curiosity, an energy that calls for the development of a new or different understanding of my surroundings and my place within them. Sans camera, I explore at a pace fast enough to count as “passing through” but slow enough to “see”; I watch the sun break the horizon; I walk through the city examining the layout and divisions within it, clarifying my understanding--of human interaction, security, migration... Through this process I triangulate new locations for myself and assemble my own vignettes. My return to the act of photographing is a return to the “-scape,” but not as a true or objectified representation. Though my eyes are drawn to the land, to the color and quality of light, I am pulled to interstitial spaces, to faint and obscure traces, to what we experience, not what we see.

As in that first photograph, the latent image seduces with the magic of technology. But unlike Niépce, I do not hope to capture a shorter instant or clarify the particulars. Certainly, I show the familiar and specific. They are, at once, a point of access and, in their unassuming nature, a distraction. In this dichotomy lies tension,a pull between what we know as familiar and a compression we cannot experience. This dichotomy is my “gesture towards”–a variant understanding of time and place.