My work reflects my ongoing fascination with the construction of imaginary worlds that mirror a distorted reality. These fictional tableaus are reflective of inner states of mind and responsive to world issues. The camera is used for its ability to record actual visual information and create a level of familiarity. I use a variety of collage methods, sometimes in the building of a photographic source, sometimes in post-production. In all cases, I am playing with scale shifts and unsettling points of view. 

The extended body of work, Grief Encounters, used the miniature to suggest psycho dramas/traumas. The new body of work, Uncommonplace, uses the larger than human elements of landscape and architecture to create destabilizing environments. 

I put together photos taken from different parts of our world to create this alternate reality, one that is similar to our world but with enough difference to create uncertainty. I see these Images as a lucid dream that reflect our own distortions and interpretations of what we see. We make assumptions or judgement based on first glance. This remanufacturing of landscape and architecture results in objects and buildings that float in a slightly skewed space. Reassembling reality based on the experience of multiple places and locations creates new spaces that verge on recognizable, but defy definition.  This process of reinterpreting the world is something that I do to feel more at home in the world. But the new world we create puts us on the wrong side of the mirror, looking back at the reflection of our ever-shifting psyches.

The impulse to create tableaux and fictional characters has its roots in childhood play. My youthful preoccupation with inventing fantastical worlds has evolved into an adult creative process that is a way to exorcise anxieties and tribulations.  By using cinematic references and photographic conventions I invite a viewer to experience aspects of my inner world in a way that creates a parallel universe. 

The analogue macro-photographic approach is crucial aspect of the construction of the images. The camera captures miniaturized spaces, in real light, using physical optics. The unreal is positioned against the real, a visual conflict that heightens the unique surrealism of the world within the photograph. Scale is fluid, morphing from tiny to gigantic, both within the scene and on the wall.

The dark worlds implied in Grief Encounters are pregnant with tension, unheard dialogues and missed intentions. The pictures are stills from a Noir Novella that eludes our full comprehension. We project our own insecurities over the image and veiled conflict within to give ourselves the illusion of closure, a comforting resolution. 

The impulse to create tableaux and fictional characters has its roots in childhood play. My youthful preoccupation with inventing fantastical worlds has evolved into an adult creative process that is a way to exorcise anxieties and tribulations.  By using cinematic references and photographic conventions I invite a viewer to experience aspects of my inner world in a way that creates a parallel universe. 

The analogue macro-photographic approach is crucial aspect of the construction of the images. The camera captures miniaturized spaces, in real light, using physical optics. The unreal is positioned against the real, a visual conflict that heightens the unique surrealism of the world within the photograph. Scale is fluid, morphing from tiny to gigantic, both within the scene and on the wall.

The dark worlds implied in Grief Encounters are pregnant with tension, unheard dialogues and missed intentions. The pictures are stills from a Noir Novella that eludes our full comprehension. We project our own insecurities over the image and veiled conflict within to give ourselves the illusion of closure, a comforting resolution.