My photographs – and related photo-objects – contain familiar things and things that are confounding enough to sow doubt about the nature of those that are most identifiable. I started as a sculptor and am still deeply engaged with materials and making objects. I make many of the things in the photographs, which mingle with so-called found objects that I alter, or leave as is, as well as miscellany found in the studio. I assemble the various made and found parts through improvisation and play to create an environment that exists to be photographed. This work is about impermanence and dematerialization. The intent hovers on the edge of representation and abstraction.
I am very interested in the studio and attendant life of the artwork. Here the studio is a site of eccentric invention and possibility. I think a lot about the tension between the casualness and fluidity of the studio and the resolution of a work. I want the work to feel as if it has one foot in the studio and one in the larger world.
In some instances a shaped aperture pressed up against the picture plane (within the photograph) creates a feeling of “looking through” to a scenario in the background, though foreground and background shift positions. I think of these apertures as viewing devices, eyeholes, portals, and permeable boundaries between the room the viewer occupies and the world of the image. The looking device or eyeholes heighten the experience of looking out from within a body. Our beautiful, funny, desirous and desiring, abject, alive, pathos-inducing, “frail animal bodies” (to borrow a phrase from philosopher Martha Nussbaum) is an animating undercurrent of my work.