Artist Statement

I work with photography, and against it. My practice begins with the photographic gesture but rarely ends with an image. What interests me is the apparatus: the scaffolding of seeing, the systems that make an image possible, the mechanisms of looking, pointing, and directing attention. Photography, in my work, is less a medium than a condition, present even when it hides behind its own deconstruction.

Over time, my practice has shifted away from photography as such, toward a field that combines CGI, photogrammetry, offset printing, and spatial installation. These are not replacements for the camera but extensions of its logic, ways of continuing to interrogate how images are produced, motivated, and circulated. I treat the image as a technological object: shaped by machine processes, feedback systems, and material limits, prone to delay, misalignment, and entropy. My concern is not with what is depicted, but with how depiction occurs and what kind of attention, power, or belief it produces.

A central mode in my work is materialized deconstruction. Offset printing bleeds and misaligns; moiré patterns fracture legibility; xerox erosion folds reproduction into erasure. In one project, a stock image of the Challenger explosion is printed ten thousand times until the stack reaches the height from which the shuttle fell. The image becomes not memorial but matter, heavy and fractured, exposing the formal pressure to be clear and recognizable even when depicting disaster. In another, desynchronized digital clocks project "real time" while drifting from world time, creating a temporal anti-space between synchronization and noise. In others, scanned statues are held suspended in mid-air as thought-forms from a past that cannot quite resolve.

Across these works, I examine how human experience unfolds within human-made systems: infrastructures, perceptual regimes, image architectures. My subjects are rarely people in any conventional sense. They are figures caught within systems, passive agents acted upon rather than acting: puppets, animals, ruins, clocks, chairs. Each is a proxy, a symptom, a placeholder for larger forces.

This is also a practice built around temporal displacement. I work in slow motion, loops, archival fragments, and speculative reconstructions. Time is not used to narrate but to distort, to stretch or collapse experience until its structure becomes visible. The past is unresolved, the present unstable, and the surface no longer explains the depth beneath it.

We live in a moment where images do not reveal but perform, circulate, and burn. The indexical bond is gone. What remains is echo: repetition, glitch, oversharpened symbols. Clarity has become its own kind of violence, a flattening of difference into digestibility. I do not mourn this condition, but I move through its residue. I explore the leftover, the suspended, the frayed. I try to make work that points without instructing, that holds without capturing, that stays with the fracture rather than resolving it.

At the center of all of this is an ancient gesture: pointing. I think of photography within a longer history of directing attention, a movement that evolved from hand to weapon to tool to camera to algorithm. I am less interested in what is being pointed at than in the gesture itself, and in the desire, power, and belief it carries.