My artistic practice is engaged with exploiting an ambiguity of visual experience—the uncomfortable zone between what we see and what we perceive creates a surprising moment where the usual meets the unusual. Things that are not alike are very similar in some surprising way. I aim to engage the viewer in this place where there are some ideas that intersect with the individual's consciousness. The work draws from many different visual elements such as the role of the structural, the system, the technological, the biological, the ephemeral, the fabricated, and the decorative, and for me, it is a meditation on the complexity of an increasingly dense environment.
I work primarily here in New York City and find the people, places, and objects of the city are the building blocks I am using. Many of the photographs reflect an interest in certain types of actors and their visual performances: people as reflected in and by the architecture of the urban landscape, bits and pieces of patterns and textual material, and how it all expresses itself visually.
The use of traditional materials and techniques characterized my earlier work. Before I was born, my father was in the Army. While he was serving in the Korean War, my father put some cash in an envelope and mailed it to a US Army Post Exchange in Japan. In return, he received a camera by Army postal service. When I was young, my father gave me that camera. It was the first thing I used to create images. Later, I studied painting, drawing, and printmaking at Columbia, but I returned to using the camera soon after. I explored the urban landscape, and was compelled by the textures and patterns of the environment.