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each photo, whether clear or blurry, old or new, taken with care or out of a car window at 50 miles per hour, carries it's own meaning, power, and sense of authority. it say's "this moment, this light, this object, this experience, this face, this arrested movement has been captured and is mine". it's the antithesis of real, yet we gladly accept the images as a flat validation of the external world (and it's inhabitants) that we love, borrowing that authority to sanctify our experience - "yes, that happened, i saw it, i was there; look - i have a picture of it." it's no wonder that victims of a fire tear up when they mention their lost family photos.

as an artist, i blend and bend the frozen moments of my day to create an image that more closely represents the internal world, where time and space are not inflexible dots of color and light, but fluid composits of sound, images, thoughts, feelings and memories. when deconstructing and reconstructing photos, I find great value in letting my subconcious make half of the decisions. thematcally, i love metaphors and am drawn to objects that are laden with multiple associations and meanings.

i returned to painting a few years ago and have been doing exercises to resharpen my dull and rusty brush skills. a lover of metaphoracal circles, i've recently begun using the digital collages as subject matter for my paintings.