The photograph is sculptural, transformative. It signifies as any other art, offering the author of its content the same gamut of tropes, from the allusive to the analogical, the quotidian to the recondite. With a background in painting, philosophy and aesthetic theory, it has been my goal as a photographer to explore the various ways in which the lessons of modern painterly abstraction can be applied to the photographic medium, in turn surrendering the viewer to the compositional depth of phenomena at the margins of the view. I take for my subject the unaffectedly immediate, the fit and thrum of the everyday, turning the frame to what's most usually experienced only in glimpses, in passing; unconcealing, if you will, the inherent aesthetic possibilities of the liminal surfaces we pass over and by and through. Variously fed by the compositional concerns of abstract expressionism and geometric minimalism, the resultant images show a distinctive precision and uncanny emotional depth, while evoking the wonderment of the newly revealed in the exposition of the ready-to-hand.
