the in-between places

                                                 
           

blood trail

cassius clay

corpus callosum

creeping I. V.

  self portrait age four (dog years)  

gestus and dismas

hunter

@#$%-ing jerk

insomnia

 

of flesh

one bird, two stones

 

prayer

satellite

thin veins, poison river

utopian

weidmannsheil

vapor

exhibition view

exhibition view

     

I am interested in the effect photography has on narrative when you attempt to fill the rectangle and isolate all that happens outside that defined space. However, I avoid using a strict rectangle in an attempt to represent a reality that appears - in itself - incomplete and indefinable. In the darkroom I treat the photographic paper as if it were a canvas, creating the image as a painter would, altering it with chemicals, casual toning, by scratching and sometimes tearing the negative. This physical manipulation of the photographs is intended to play with perception and point of view, confusing the viewer's sense of reality. The manipulation creates a suspension of belief that allows me to transcend ready-made perceptions of the visual world.
I start by shooting with traditional film or by creating digital negatives loosely based on situations, events, circumstances, and objects that will create the story. The unfolding narrative is based on insinuation rather than representation. I am interested in the malleable qualities of fiction that are invented by the viewer. This story and its images are intended to hold open multiple possibilities. It is this ambiguity hovering between what is imagined and what one sees, between reality and fiction, that I am entrigued by.
To a certain extent the process is revealing the narrative. My time in the dark room represents a sort of pursuit of these images and the evolving narrative. This pursuit of the images continues even as I am printing the negative. Often the result is purely accidental. I pursue them through trial and error. In the darkroom, the images that ultimately reveal themselves to me rarely resemble my initial intent. I have learned to accept what the images reveal to me, and subsequently weave that into the story, thus creating a sort of meta-narrative. Photographs are articulations of a silent void, registrations of a moment lost deep in itself. I am interested in photography’s ability to register a moment, to approach its essence, reality and invisibility.