ARTIST STATEMENT: The difference between noticing and seeing; the ephemeral moment that appears and disappears; the dialectic history of photographic technology; the everyday phenomena of perception: these are the roots of my work. Scientific observation merges with ephemeral constructions as I notice, capture, and translate slices of time and optical surprises. Through analogue photography, Polaroids, hand-held scanners, large-scale installations, overhead projectors, video, and drawing, I examine the passage of time as it records itself onto these materials. My final product is often a witness of the process that has occurred to it.
I choose materials based on their ability to respond to my own body and to the external forces of nature. These materials act as agents of my mental cognition, witnesses of the moments I have experienced. But I also aim to push these materials to do something unexpected, to evolve under their own imposed conditions to reveal a reaction that I would not have expected. The entire process becomes a translation of a singular moment in which light shifts, space changes, and perception inevitably reacts. Elements of the natural world combine with my drawings through physical space to create a microcosm of visual and mental experience, which simultaneously creates a void that allows the light to be seen in the center of it all.
My philosophy about art is largely based on Buddhist teachings of the mind. Just as the Buddhists seek nothingness to reveal enlightenment, I turn to the overlooked daily nuances that dictate the time of day, the passing of time, and the changing of seasons, and pry open these given events to find revelation. Through training my mindís eye to seek a clearer consciousness, my work both reveals these mental processes and surpasses my physical being to become an evidence of the inner workings that surround us day to day.