ARTIST STATEMENT
My work is concerned with the associations that occur when we encounter sites or scenes that reference our experience of space and place. The poignancy of present moments is fleeting, and the resonance of immediate experience fades quickly. This recognition leads me to question how particular types of imagery prompt sensations from our past and conjure speculation of our futures. A prolonged preoccupation with the relationship between perception and memory has led me to carefully consider how the time-based mediums of photography, film and video influence and shape our histories.
There is something uniquely troubling about the passing subtleties that a photograph can capture. Momentary instants become both particular and transitory. Whether the viewer encounters a scene as static, dynamic, or a combination of both, impacts the viewing experience and suggests a particular response. Influenced by the phenomenological distinctions between the still and moving image, my recent projects include singular and multi-panel photographs alongside video works that slowly reveal the evocative charge of sites that are at once recognizable and foreign. These works ask the viewer to repeatedly consider their perceptive response to visual phenomena in ambiguous and often indefinable spaces by presenting similar or identical imagery in sequence or series.
In terms of subject matter, I always look first to the common and the everyday. Often this includes familiar interior spaces and, more recently, the surrounding landscape. My turn to landscape came about rather tenuously. Sensitive to the history of this discipline, I acknowledge the presumed associations that often accompany this type of imagery while simultaneously attempting to shift the emphasis away from these expectations. In some instances, I make slight interventions within the space depicted and at times integrate elements that are clearly not naturally occurring.
I have no particular affinity to nature, and do not value organic substance over artificial, or imagined. Rather, I am interested in the ephemeral qualities that these materials share with personal processes of recollection and recognition. The slow shifts of the natural world mimic the ever-accumulating matter of our own minds. Our response to both can be simultaneously strange and familiar. It is within the landscape that time moves most slowly, and distinctions between now and then become less clear. Here, the enduring theme of time marks its presence most succinctly. Perhaps by slowly considering our impressions of space and place, we might pause each moment long enough to recognize ourselves within.