I have the eye of a photographer and the heart of a painter. My work seeks to bring together these passions to create unpredictable, painterly images in digital film. All of my photographs are created on-site and in-camera. I work against the proper use of the camera’s technical functions, instead, using it in a manner that was never intended when it was created. It is then crucial to me that the resulting images are neither re-worked nor arrived at through software manipulation in post-production. They are images of chance which portray as much about the insides of the camera’s workings as they do about the observed scenery.

 

Rather than “capture” a snapshot in time, my intention is to create an immersion which is a collusion between myself, the camera and the subject matter. The outcome is a series of personal, painterly responses to the world; a dynamic interplay between abstraction and figuration, between documentary and the fantastical. At times I see Gerhard Richter’s smears of paint across the image, then flashes of his works committed to realism. At times I’m near Judy Pfaff’s chaotic drawings. And at other times there appear to be little Peter Doig-like portholes in the surface, as if you could look through a crowd of people to another space altogether. I am in constant negotiation between the very precise technology of digital photography, intuition and happenstance to produce an equally indicative and elusive image.