My work begins by removing the familiar from its expected context. I am interested in the point at which a subject becomes less certain - when a body becomes landscape, landscape suggests the body, architecture becomes movement, or absence becomes evidence of presence.

Through isolation, abstraction and light, I reduce what is before me to form, gesture, surface and space. In that reduction, contradictions begin to coexist: strength and vulnerability, stillness and movement, permanence and change.

I am drawn to the threshold between recognition and abstraction. I want the subject to remain present, but not entirely resolved - leaving just enough information for the viewer to recognize what they are seeing, and enough ambiguity to begin seeing it differently.

The making of an image is deliberate, its meaning is not fixed. I want to leave room for the viewer to enter the photograph - to bring their own experience, perception and associations to what is before them. That space between knowing and not knowing is where the image becomes something beyond my own experience of it.

I am less interested in describing what something is than in creating the space to consider what else it might be.

The discipline is in the making; the freedom is in the looking.