The slow emulsions of early photographic processes turn pictures of Paris and London into pictures of ghost towns, void of people and all transient activity: nothing to do with what either city ever looked like.  Eddie Adams’ 1968 photograph of General Loan executing a man in Vietnam freezes the action after the bullet enters and before it exits the victim’s head.  The bullet entered Nguyen Van Lem’s head over forty years ago and in Adam’s photograph, it still rests there: nothing to do with what the execution looked like. In my family’s vacation photos, we are all lined up shoulder-to-shoulder in front of some point of interest (or the station wagon): nothing to do with what the vacation was, merely how the vacation was photographed.

I consider photography my principle subject matter and explore, from beginning to end, how a photograph is materially made (creation), seen (perception), and understood (cognition). I am visually exploring scientific, artistic, or cultural ideas about photography, sight and understanding. The images, made with some combination of time-lapse, slow exposure, successive doses of light, or prolonged development, largely replace photography’s struggle to document with photography’s power to invent. The objects, made with found items, out-dated equipment, and hand made materials, are odd pairings of familiar and esoteric tools and techniques, conceptually linking a technician’s thoughts on how to make a photograph to an historian’s thoughts on how to understand one, a page of sheet music to symbolic instructions for eating a burrito, a pair of hedge shears and a moire movement image. In these works, the mismatched and manipulated information is no longer supported by its original context, by any context, and the residue of intent is subverted, or at least diverted, to unexpected (mis)uses. At this point in my explorations, I am less interested in making another photograph than I am in using photography to reexamine photography’s roles in my life and culture.

We don’t see what we look at, we see who we are.

                                                                Anais Nin

chocolate fondue fountain,
Let Them Eat Cake,
public art in the park: Sept 20 2014Public_Art_and_Collections.html