I employ the camera to maximize while minimizing the everyday, magnifying what I see with more depth and exaggeration than is ordinarily visible. It is on the same level of fixation as hyper-focusing in on a pigment’s particle. The camera is used as if it were a paintbrush: a process that embeds a discovered matrix in the work. Found images act as surrogates for painting surfaces.
Technology allows us to interact often on a superficial level. Tangible, visceral substances touched by humans that have been alchemically weathered and honed over time exhibit authenticity.
Exploring the formal and conceptual junctures between historic process (through the manipulation of natural resources) and the modernity of digital imagery is an ongoing project.