I make photographs because I am preoccupied with memory, the effort of remembering and the consequences of forgetting.

We are defined by our memories but memory is fickle and often confused. Was that childhood memory really a memory or did I conflate a snapshot and a story? Is that recollection which stirs me physically a memory from my own life, or am I just recalling a dream or even a scene from a movie? You can recall a conversation that we had while I can't even remember the day!  Why does this action make me recall a person I haven't thought of in years? So much of our lives are lived unconsciously and yet a lot of what we miss in the present comes back to us in the form of memory. Sometimes we get to live a moment again and again. Sometimes we lose it forever. Sometimes we were never there to begin with.

The physical manifestations of human life on earth fascinate me. Our world bears the scars of actions yet these are the results of myopic and amnesic systems. Landscapes bulge with the remnants of civilization and undiscerning practices. Cities are altered or reconfigured ultimately revealing fractured relics.  Waste haunts the world, even in the most remote places. Forgotten but still perceptible these become isolated markers of life, ghosts of experience, both transient and permanent, leaving their traces wherever we look.

I shoot film mostly and often use old and plastic cameras that are faulty. This maximizes the potential for an imperfect image to be captured. By tweaking with the camera in some way chaotic intervention and minor catastrophes are encouraged during the shooting and processing. Accidents of light or focus add unforeseen results. These imperfections are the film's manifestations of its own memory and experience while in the world. Film becomes a living thing.

Photography combines speed and slowness. An image is captured in a fraction of a second, sometimes entirely intuitively and sometimes after long contemplation but deliberation is also required once the image exists in the world, either as negative or print. Within a body of work, I find certain images need to be adulterated in order to be visually amplified. Negatives are burned, prints torn or elements such as thread are added: a gesture of the hand may be needed. This unfreezes the photograph to allow for the locked moment to continue forward into the present.