ENTERING SIDEWINDER PASS , 2016  Wood, milk paint, finishing wax, matchbox car   24x 24x 24"   
 Trap Door, 2016  Milk paint on canvas  12x12"
  Pass Over,  2014 Pronto plate lithograph 12x16"   Published by R&D editions     
    In this project, photographs were taken of open sky over the course of a year.  All pictures were captured on one roll of film, with little to no clouds present, through all different times of day and year, lending an element of intentional watching and waiting, as well as revelation.   The ambitions with film and video deal with particular themes, and draw emphasis on a specific metaphor: it is that of the camera and the human soul. Being that the inside is shaped and formed by what is allowed in through the lens. This idea stems from a biblical verse from the book of Matthew 6:22-23 where it says, “The eye is the lamp of the body. If your eyes are healthy, your whole body will be full of light. But if your eyes are unhealthy, your whole body will be full of darkness…”  Thus, the composition of the images are a result of what is focused on: a clear blue, infinite sky.    These are digital scans from 35mm film, taken by a Canon AE1 series camera.
    Curtain, 2012 Digital film still   In Ingmar Bergman’s existential drama,  Persona , two main characters occupy the black and white frame. One of them, an actress that has had a nervous breakdown, riddled with the terrible sense of guilt for her lack of love and affection towards her own child; the other, the nurse that is trying to help. In this film, Bergman draws on the concept of “good” and “evil”, and the conflict of human emotions towards these subjects. The characters themselves depict the state of being torn—divided in two—and abiding in a state of introspective madness.   In these stills, the figures occupy a world of black and white, moving to and fro, from being in the light, and then into the darkness. The compositions then are entirely constructed of light and dark, devoid of color, and rely on shade alone for recognition. As stills taken from a time based medium, allowing glimpses into minute details of a moving narrative, the images project beyond the seeming regularity of the acts, and reconstruct another narrative within. Here, the focus remains on the relationship between light and darkness, the interaction of light with the characters, and the trope of film itself as a constructed reality.  Within the narrative of these images is the state of being divided between light and darkness, drawing on what existentialist Søren Kierkegaard called “being of two minds”.  It is in this state, within the film, that the distinction between “light” and “dark”,  and “good” and evil”, becomes blurred, creating a haunting, dismal reality.
The Divine Comedy, 2016