"We all have expectations of what things should look like. My work contains impossibilities. As I create photographic images I often start with a large view camera, tilt the front end to dissect a very specific area and yield a very shallow depth of field. While one would consider the optics to be revealing it also becomes a device of concealment. This imaginative space promotes mystery and implications of an obscure look, which feels like permitting real time and remembered time to cross paths.
I start with determining the parameters to work within, which evolve as I go. Some images are preconceived and visualized in an imagined world, and some have taken many drawings, many set up photo-shoot attempts and multiple formats of capturing the image from large format film, to darkroom solarized prints, to digital input arriving at what resembles the visual signification of my original intention. Once start-up images have been obtained from the multitudes of choices, prints, scans, and alternative additional choices, including combinations of digital stacked focal plane files, all are combined digitally with the original view camera reference image. Combining these formats brings the darkroom to the digital process, creating files sizeable enough to print images that confront the viewer.
This is the method applied Inculcated Domesticity. Each image employs eastern perspective. All are black and white; all have very specific areas that are in focus, as well as very specific things concealed. Within each image there are objects connected conceptually to each other and to the whole. It is by using the trace images of objects that have assigned historical context to them, which we collectively understand, that the installation investigates domestic space and cultural expectations. The apparently incongruous positioning of objects, variable vantage points and perceptions invite consideration of whose eyes view the scene in the shifting contexts of past and present and what is their role."