I make large prints because I want them to be seen both far away and up close. I want people to walk up to the work and watch it fall into abstraction, make visible the granular terrain of the negative and the tooth of the surface. I want people to step back and see the whole thing, archaeologies of cultural strata compressed into single images. I want engagement with scale. I want material confrontation with the physical nature of the process, while simultaneously and always contending with photography's casual, uncanny relation to the actual, its burdensome status as a document.

I want to photograph everything. I realize this is an impossible task, so I have to narrow it down a bit. What helps, I think, is endless curiosity - continuously looking, continuously filtering. It might also be a tic: always looking for a better picture. A photograph, for me, is some kind of meeting of the internal and external to make a third thing. Photography confronts and confuses art. It is a site of conflict, instability, and ambiguity, a means of actual and spectral discovery.

Each work is a discrete object. Each image, in part, represents a typology. It is simultaneously its singular self and its categorical self. I'm interested in bringing works together to make relationships. It is inevitable that ideas and concerns will overlap and conflict. A relationship doesn't imply harmony. I'm interested in leakage, destabilization, dialectics, beauty, suggestions-of-narratives, meta-narratives, the expression of many ideas at once. I look for cross-currents and collisions resulting from multiplicity, the way a photograph seduces and estranges.