Rather than the popular photographic paradigm of taking a picture at a ‘decisive moment’ the images in this series have undergone a long process of construction more akin to that of making a painting, sculpture, or graphic design. My hope is that by extended this process I can create photographs that not definted by the dichotomy of digital vs. analog and are not defined by the traditional bounds of any particular medium. Though the content and many other elements of this series are strongly tied to a photographic way of seeing.

The lengthy and cyclical process of construction I use serves to extend the photographic moment as much as possible, altering the way that time is depicted in these photographs. My Quixotic goal in this is to try to create landscapes that are timeless and universal, but still indebted to a single moment and specific context. It is unclear as to weather something in these images just happened or is about to happen. The worlds that I have constructed contain elements that appear to be made by man, machine, algorithm and nature because during their creation I employ such a variety of techniques.

Each image normally begins with an idea pertaining to a landscape; this initial source material ranges from personal observation to more basic photographic landscape motifs. I then go about breaking the landscape down into various base components in a variety of ways. Often I use keywords (i.e. “pale sunset”, “sandy beach”, “gray mountain”, or “pale green field”) which can be used to find source material via a google search. This source material is heavily cropped down to a square of surface texture which I then interpolate and arrange with similar squares into a textile like grid. Other times I search to find a scene that represents an 'ideal' of the landscape motif that I had in mind.

The images are then collaged, cut back into pieces, taped together again, and recombined with other elements into a three dimensional sculpture. These sculptures are then photographed with a variety of cameras ranging from large-format analog film to camera phones; often with several versions of the same sculpture photographed with different cameras, arranged in different compositions, or with different lighting. The analog images are scanned and, along with the digital version, all of the photos are aligned with each other. I then rework these images in Photoshop, compressing portions of the image, adding additional layers, or removing parts of some of the elements. This process is often repeated several times as insights or additional content develop through the construction.

Throughout this varied process, I intentional morph, merge, and change the concepts behind the photograph rather than keeping it tied to my initial idea behind the landscape. This varied process allows many different ideas or points of entry to be attached to each photograph, as I attempt to subvert a single point of view and perspective. As they oscillate between the vast space of the horizon and the flatness of the grids and pixels that make up the images, so the content of each image changes like a chameleon. These works should be considered in a manner similar to attempts at solving a Zen koan: they are reflections and meditations about our world’s complicated and historically rich landscapes. These landscapes are puzzles without solutions.