The snow can fall forever with no concern for my needs. The leaves turn, pictures lose their level, and thin ice warms in the sun, cracking to the ground. Strands of hair collect along the shower’s edge. All of these scenes balance a level of desire, uncertainty, and determination. They hold still on the periphery, go remote, and commit to be captured.

I exist inside my imagination, retreating there to re-invent courses for these physical and psychological sequences. Personal episodes where I maintain the least amount of control become inspirations and events ripe for revision. I make photographs as a way to gain ownership over the tension and discomfort that these spaces create. The strain is born from the fear that the world exists without us. These images visually represent my ability to harness that tension of those ephemeral episodes. Viewing these sensory experiences presents my audience with an opportunity to recognize and tame their own defiant situations.

In this series, I make connections between two types of seemingly separate experiences; our real, physical place in the world and a more abstract imaginative psychological space based in emotional instincts and personal relationships. All of the illuminated details in the images represent a known quantity, or the conscious mind. The darkness symbolizes the psychological unknown, or the unconscious mind. Operating in the known, or conscious state is comforting at first. Eventually, you reach an experiential plateau where the impulse to see what lies beyond is born. This work represents the desire to control the unattainable and reconcile these opposing states.

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Sometimes it Gets Boring in progress

Project Statement

The momentum for this work originates from the need to fabricate the presence from an absence. Specifically, the absence of a lover after the relationship ends. How do you fill an empty space? Particularly, how is a space both filled and made emptier by the same action? I wanted to interact with something that wasn’t there, a person or a presence. After a relationship ends, the time most pregnant with this absence is the silence before you go to sleep and after you wake in the morning.
I wanted to parallel the daily dilution of the habits and feelings toward a person with the steady accumulation of new experiences without them. By silk-screening a silhouette of a human form on my personal bed sheets I was able reference my memories, symbolized by the actual figure; and my accumulation of new memories, by the transformation of the figure through embroidery.
Initially, the inspiration for this process was built on the idea of erasure, although something quite contrary emerged. Instead of erasing, the silvery lines of embroidery thread began to illuminate and emphasize the figure. The emphasis on the physical form and the presence  (absence) brings the object closer to the actuality of this particular situation; where obsessing over a memory of a person or particular situation only makes that thing more prominent.

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