How much of the world is revealed to us, and how much do we project on to it? 

Expanding on my filmmaking practice, I create large mixed media collages by projecting video onto photographs and sculptural forms.  The spatial and temporal ambiguity at the intersection of motion picture and the still frame raises questions about the way we perceive time and form memories. This hybrid medium of additive and subtractive color spectra gives rise to emergent characteristics like depth and luminescence that transcend normal visual experience. Borrowing from montage theory, it uses the collision of individual fragments to create meaning that is more than the sum of its individual parts. My studio practice is an attempt to weave together various philosophical interests: Cognitive Psychology, interactive narrative, and Cartier-Bresson’s “decisive moment.”  I am deconstructing my experience of perception in search of visual epiphany—the “aha” moment of metacognition when suddenly I have the overpowering feeling that I’m both seeing and aware that I am seeing.

My current work explores emotional attachments and fissures within contemporary family life, and their tenuous connection to a collective memory of trauma across generations—maybe even a grand cosmic scheme of things. The mystery of living in the moment is all-consuming, our judgements torn between the inconsequential and the far-reaching. We struggle with what we see, can’t see, and what we don’t want to see. In art as in life, I believe that details matter—that the synergy of microscopic subtleties can reveal much about character, mood, and intention, and illuminate the path ahead. Taking notice of an angry wayward glance or the innocence of a dreaming hand can ripple beyond the here and now. Meaning for all of us resides in this interplay between the seemingly trivial and the significant, between the gesture and the potential for catastrophe.