I like to think of my work as photographic tapestries, or celluloid stained glass tableaus, that reveal a dream-like complexity to the viewer’s contemplation. They are totems made from light. They are reliquaries for my reflections of the journey I take in this world.
I’m a film photographer in a digital world. I use analog film to create my images because it is the medium that most closely recreates the imagery of dreams. I capture the natural world with the hypnotic aesthetics of film – the murky ambience of twilight, the explosion of mid-morning richness, and the cold embrace of grey skies. Film is alchemical and allows me to create a kind of metaphysical record of the drifting light.
My process is a large part of the context of the work. I shoot rolls of transparency film, and once developed, I search for the details within multiple images that I will combine to create a larger, more complex dialog. The physical nature of my work – the overlapping film pieces, glue, adhesives, dust particles, and emulsion scratches – demonstrate its existence as a three-dimensional entity, giving a balance to the dream imagry.
I want to continue pushing the evolution of film photography and change the expectation of what the photographic image can do. I do not believe a single frame can define a subject because stories built from light and shadows cannot be told in a single moment. Like cinema, my work relies on capturing multiple movements and shifts in perspective to give the illusion of motion and memory.