Using darkroom photography and drawing, I make blueprints that map daily perceptions and projected thought. Like maps, each piece exists as section.
Here, small scales refer to the particularities of intuition and the domestic supports that give rise to schemata drawn from experience and re-collection. Part of my process involves writing; language, as the structure that shapes how we imagine, is key to these studies of the familiar.
I’m drawn to subject matter that recurs, that tends to the infinite via repetition. I work in serial form. Certain ‘opposites’ preoccupy me: black and white, inside and outside, stillness and life, index and referent, the planned and the intuitive. Planar dimensions common throughout my practice — celluloid, paper, glass — both reflect these fixations and attempt to press them into partial coexistence, albeit an ephemeral one. Metaphors of the home, local objects, temporal cycles and pattern help locate this plane of thought.
Finding balance, compressing grey spectrums between elementary opposites, sustains my visual reasoning.