Prolonged looking is a major goal. My generation (maybe just me) seems endlessly caught between analog and digital modes; I try to reflect that tension. I’m interested in how photography gets periodically disrupted/expanded – Polaroids, and now cell phones, Instagram, etc. – more accessible, with the seeming adverse effect of making us less attentive.

The passage of time (how to document it and who gets to) intrigues me. I believe that visual experience continues to influence how one perceives everything going forward. It is therefore important to continually question how one actually sees. In my work, the Polaroid format has come to represent the limitations – and the beauty – of memory and nostalgia, along with the fleeting intention to balance previous experience with attention to what is happening now.

I like the intensely personal associations of the Little Darlings but wanted to expand on ideas about ambiguity and visual perception.

Color and light need no mediator. And, ultimately I want each viewer to have an experience that doesn’t rely on verbal explanation. I am pursuing the “vibrational” effect of Hyperspace to bring the action of scrutinizing into each moment of looking at the work.

I really love Minimalism and Concrete Art. Reductive strategies in general are a great influence to me. I grew up very near my four grandparents. They were two carpenters, a builder, two artists, and a quilter. I absorbed a lot early on about how to make things.

I enjoy the initial process of building as much as every other step. For me, integrating how all elements go together is supremely important. I like figuring out the best materials, gathering the right tools and refining the process. I do as much of the work myself, so that each object is embedded with my touch Even though that mark should eventually disappear.