I consider my photographs as extended performances which occur over multiple realities. There is the recognisable (the part of the image we see as “photograph” with its familiar contents) the sensorial or abstract (what we do not understand and cannot articulate), and then the outcome, where the dissimilar realities combine into a final picture. When people look at my pictures, I want them bound in an indeterminate perceptual loop, where all actors, both familiar and abstract are liberated into the reality of the other.

The “photo” parts of these photographs describe what was. They are simple pictures I take as someone traversing daily life. They can be leisurely snapshots of my friends and family, the studio where I live and its colorful surroundings, or casual accidents that happen along the way. But the abstract actors describe not only an unconscious and physical link to myself but also the cameras ability to extend, exceed my actions into the imaginary. That is, actions that only the camera can record, such as a thing being in two moments at the same time, or fast moving objects frozen with a flash. I create things that only register to our senses. No names can be gleaned. These are not yet differentiated, categorized or distinct but they act upon the eye and are felt.

The process is one of controlled chance. Typically I photograph an abstract scenario in the studio, and keeping that image latent in the camera, take the abstraction with me into the world. Sometimes it may happen the other way around. Often I build contraptions around the camera and make the whole operation portable. Either way the results are so much more different, alienating and aggressive than anything I can think up.