My practice is a process, a constant experiment, exploring photography, film, video, and vision itself, as medium and subject.
I am particularly interested in how dominant technologies and ideologies influence what is seen, what is captured, and what is saved over time. In what myriad of ways, both consciously and unconsciously, do we choose to mediate what we see? And what does this say about the world we live in? In a culture of constant capture and distribution, technology always changes, but does it evolve? I revive and analyze imagemaking processes and philosophies to address such present day conditions.
This practice is driven by research and requires reading, archive-digging, pilgrimages, direct and durational observation, hands-on experimentation, trial and error, wandering, imagemaking, and attentive editing. My subjects have included William Henry Fox Talbot, Eadweard Muybridge, American Transcendentalism, the Hudson River School, instant film developer, rainbows, Black Mountain College, Hollis Frampton, my bedroom window, disposable cameras, time-lapse photography, Final Cut Pro, digital image sensors, and the Hubble Telescope archive. I am on a search for structure and the sublime amidst a seemingly endless flow of images.
Over the last decade the results of these inquiries have included portfolios of photographs, 35mm slideshows, films, videos, immersive environments, exhibitions, curatorial projects, essays, printed matter, and original archival research. Regardless of media, material, or method, my aim is to provide new forms and contexts for images, to foreground the act of perception, to prompt reflection, and to invite wonder.