I utilize instant film, vintage and high end lifestyle magazines and found photographs to address the permanence of actions and their effect on objects in my transformation of found imagery. Each substance is a tangible remnant of an immutable occurrence and my actions upon each object render a flux of culture, nature, and time. While the work does elicit former instances, these recollections are secondary to a perpetual momentum ahead. My choices to react to prior events embody a pursuit for both newness and nostalgia. While concerned with the shaping that occurs from all that came before, I am enticed with the constant movement forward that is essential to our life in a fixed arc of time.
As I photograph National Geographic magazines in modern terrain, I translate images of before into a now evolved time and altered environment. In the series, Time-Proof, found photographs from photo albums and thrift shops are layered with marks as the images become landscapes for the exploration, carrying the viewer from past to present, revealing potential for the future. Within the series Watching, I venture to establish individuality and certify normalcy while viewing outdated VHS tapes. In these now obsolete forms of cinema, I seek images to couple with my current existence. In the glint of the broken, participants were invited to build and construct with a variety of glasses, slowly and surely, unaware of the end. After construction, all were invited to break and destroy theirs and others creations, claiming ownership of both the creation and its demise. Similarly to previous work, the actions of past creation existed to enable the latter destruction.
I have accepted the persistence of time and the continued presence of preceding events and have acquiesced to the only option at hand; I will react to past reactions, alter alterations and continue in the path of time as the objects around me become living time machines.