My process is directed by an exploration of possibilities within a set of constraints. The rule of the
un-manipulated print challenges me to create composites by hand without the use of post-production
editing techniques. I assemble pieces of drawn, painted and sculpted forms to
converge for the precise point of view of my camera until the intended spatial distortion takes
shape. Paralleling the flat surface of the print, three-dimensional elements are aligned to collapse
perspective through the lens, blurring distinctions between mediums in the final photograph. The
detailed focus conversely reveals the tactile seams of my tenuous construction. These slippages
interrupt continuity to pose questions about the coherence of photographic representation and the
construction of the still frame.
In a game of adaptation, I tailor my materials specific to individual environments to transgress its
boundaries and modify structure into liminal space. In the control of my studio or the contingency
of the street, I demonstrate the degree to which I can alter perspective through the positioning of
sculptural forms. Like a shape-shifter in a continual remapping of place, I meet change with a
developing set of responses that evolve relative to the conditions of my circumstance.