Within the confines of a frame, I try to capture an undeniably distinct world from the one we occupy. I create images that call attention to things that other people tend to overlook. Exploring the unnoticed helps me engage more deeply with where I am in space and time. Through photography, my goal is to make beautiful that others fail to notice or even find disturbing, to create something elegant and magnetic in the mundane.

In my work, the passage of time and the inevitability of endings are active underlying themes, and those moments lost to memory provide me with the greatest inspiration. However, these concepts are more than merely thematic within my work; they also inform the techniques and processes I employ. 

By using film cameras, I must work slowly, one frame at a time. I set the cameras up, knowing that I have to compose with care to get everything right. Seeing the image inverted on ground glass abstracts it for me and enables me to see the design, composition, and light without worrying about the object. Working this way is a means of meditation, relaxing deeply, and seeing and working within myself. It allows me to stop over-analyzing the subject and compose the image while looking at the world in a less literal way.

However, the resulting negative is only the halfway point to creating an image. To complete my artistic expression, I brandish the slower tempo of creating one contact print at a time using various 19th-century photographic processes. For me, there is a painterly feel within these techniques that makes each impression essentially a monoprint, each exhibiting slight variations, each one distinctive. 

In so much as I’ve slowed down in my work's production, I hope that my pieces compel viewers to pause to focus on the details, thereby pushing them to live in the present—to stop fretting about the future or regretting the past.