Over the course of my artistic career, I have explored various subject matter and formal approaches to image making. My work, predominantly photographic in nature, has touched upon childhood trauma, cancer, terminal illness, and mental illness. I am interested in subverting the presumption of the photograph as a means of communicating evidence and truthfulness. I am fascinated with the effects of using this medium to reflect an individual’s memories, to tell a fabricated story, or to articulate a world that breaks with accepted optical rules of physical space.

My current and ongoing body of work is The Microcosmic Phenomena, a surrealist photographic series. The work presents a disorienting reality articulated by suggestive forms and spaces. These images are the culmination of staging environments from built installations and constructed objects and then photographing the results. The photographs play with the mechanisms of spacial perception and the references used to interpret perception. It is a means of asking the viewer to question the state of being aware and conscious.

For The Microcosmic Phenomena series, the illusionary space depicted is not a digital world but a physical one. When the images are printed at large scale, the viewer, if looking carefully, can find clues; a pin securing an object, the rough edge of paper where an imperfect circular hole was cut, or supporting foam core visible where two pieces of paper are misaligned. These subtle aberrations reveal the illusion of the photograph and convey a constructed world built by hand. It uncovers the contradiction of a physical space which both exists in the photograph and yet does not exist as a real space in our world. This speaks to the heart of my preoccupation with the contradiction between evidence and illusion inherent in the photographic medium. It is why, even now identifying as an interdisciplinary artist, photography is integral to framing my work.