I am becoming aware that the subject of my work lies somewhere between my interests and the form the work takes. Perhaps the "real" subject is the time spent; the fact that I am able to some how carve out space from the pressures of survival, both animal and social, to work at being consciously healthy. The subject then becomes a form of psychology politics; how, with this time, am I making room for the kind of person I am? The answer is not only present in the space bookended by my interests and the form of the work, but it is also within the oscillation of those very interests -between phenomenological and stoic, as well as in the form of the work -between disorder and order.

I have only lately been attempting to activate this space as the studium of the work. In 2008 I attempted to act as a curator hanging two of my pieces in the corner of a gallery to invite in the space between a parenthetical dialogue. The following text was included:

Having only Ever Lived with Women, 2004 is a picture made within a body of work referred to as “Romantic Photographs”. During that time I thought of my process as "building photographs." Those pictures consisted of layers of paper, pigment, and emulsion. Unlike in commercial photographs, however, the paper substrate was handmade; the pigment might have included stains, threads, and artifacts; and the emulsion offered protection as well as exposure. I began by making the paper that I subsequently layered with various substances. Often, the paper took on dimensions of sculptural proportion, with its thickness measured in centimeters as opposed to millimeters. Frequently, too, the materials from which the paper was made had specific significance. For example, the paper included here was made from my bed sheets. Until this point in my life I had never lived with another man. How had the imagery of my life been altered? What did my capacity for memory playback contain/exclude because of this awareness? An image I can not shake, among others, is that of my mothers bruised and shaven thighs.

Soliloquy?, 2008 is a work composed of pieces: notes, remnants, collateral marks, and components constructed for future works that were for one reason or another left to drift. This piece is an attempt to collect and compose the debris in my life that can no longer go without enunciation; in a sense it is a coming to terms with the mess in which I currently find myself. It is the resurfacing of materials irreverent of the cogent structures meant to hold them back, like the scattered fragments floating above a once solid sailing vessel. It is the thoughts that although never said aloud now speak with the most potency.

In an ongoing effort I have been attempt to have catalogue reproductions of pieces appear in earlier unfinished states and then show the work in the gallery completed. Hereby activating a negotiation in which the viewer is made aware that he/she must maintain a memory of the work rather than relying on a catalogue image as a place to deposit thoughts. I have had two works enter into this negotiation with some limited success. The first, Misspelled Word, included in the 83rd Annual International Competition at the Print Center in Philadelphia, PA was chosen by Peter Nesbett and Shelly Bancroft from an image of the work in an earlier state, however after receiving the finished piece it was rephotographed and subsequently this image was included in the catalogue. The second, and you want her, included in Joy Divisions, Van Gallery, Columbus Metropolitan Library, Columbus, OH was selected and reproduced unfinished, and then exhibited in its completed state.