Developing image-based work motivates my research and investigating how images function in visual culture. My methodology centers around photography as a broad practice with emphasis on non-traditional approaches to image making. The current trajectory of my studio practice follows two distinct streams. One investigates the discourse of image making as a contemporary art practice and the other is concerned with masculine gender tropes, behaviors, and identity.
The construction of visual representation and its meanings as a contemporary art practice is principle to my research work. One challenge, which motivates me, is locating new methods and approaches for sustaining an image making practice. The intersection between physical hand-made and digital image manipulation is where a dialogue formulates between process and outcome. My working process is governed by intervention and re-combination of both found and original photographs. I see these two guiding ideas crucial to how I generate images. They allow for trace artifacts from the original source image to remain as vital components in the work. The degree of intervention applied to found images varies according to what I estimate as an outcome, but I do allow for a significant presence of the original trace artifacts to steer the work conceptually. Much of what I desire to communicate is already present in the found image. Re-combination of images through a specific visual statement is how I generate viewer interaction and meaning in my work.