Much of my work is driven by concerns with habits of influenced self-censorship of what is in plain sight, with questions of the nature of place identity, and with notions of the foreign. It seeks to force a choice on its audience to observe more intentionally all that is before them in both art and in life—and then implores them to do so now. Its presentations may inhibit viewing the entire work at once or use motion or sound to compel longer observation. Multilayered compositions often beg close up examination of dense detail.

I am intrigued by the possibilities of creating opportunities to observe art in less revered spaces without diminishing the force of the work as worthy of special notice and where the work can be encountered again and again within the routines of our lives. I also seek to increase my collaborations with observers within the exhibition phase of the work. As I approach new work I am more and more committed to increasing the time viewers spend with the work through added spatial and temporal engagements with it.

All of this has led me toward a point where I am now ready to focus installations rather single works or series and I now have proposals out regarding specific projects. But my work still originates in layering of my images, generally photographic but occasionally including other media. Layering provides a blank space to explore social and aesthetic issues and at the same time provides a range of transparency, texture, and color unattainable in most single-layered lens-based work

I balk at calling my work altered or manipulated. Like other art it is intentional.–and I want it to at least whisper that it was made and requires questioning and interpretation–and that it is up to viewers to weigh its meaning, its reliability, and how it connects with their lives.