I aim to visually manifest narratives of fact and fiction. I constantly search for
contradiction, fetish, and implication in both imagery and wordplay, and attempt
to exploit these nuances visually. As I explore family entanglements and romantic
transgressions, my curiosity tends to focus on the inanimate objects that bear witness
to emotional human events. A frequent visual cue found in my work is that of an implied
male presence. While an actual figure of a man almost never appears in a piece, his
existence and consequence is very much indicated. My recent work tends to obliterate
both male and female subjects completely and instead focuses on place and object.
The human touch is very close, yet absent. The scenes and situations I create convey
a narrative that is often autobiographical, and references rituals of consumption and
the compulsion to collect and idealize. I attempt to examine my personal history by
deconstructing and/or reconfiguring photos, bedsheets, and other relics. Truth is
certainly stranger than fiction, and by being painfully honest about my own past, the
ridiculous and the absurd surfaces (steeped in tragedy and complication of course).
I use traditional and digital printmaking techniques, as well as antiquated, alternative
photography processes. I am consciously utilizing current technology in conjunction with
tools and techniques that are often considered archaic and obsolete. These processess
are intricately layered, highly labor intensive, and quite scientific. Recently, I have
been working with video and film in conjunction with my practice of traditional, two-
dimensional methods of image construction. The complex processes I employ in my
studio are congruent with the complexities of content.