Dead End. Like many in this series, this image is composed of white paint, blackcloth, cardboard and lights. It shows an odd corridor
which leads to nothing. I imagine many of these to be sci-fi crime scenes or empty spaces, which, just endured a psychological earthquake. 
Skewed Reflection. The bifurcation creates what looks like 2 prison cells. Fascinated with video games like Pacman where traversing off
the right 'stage' will bring you back onto the left stage. Here, a rock in the right cell broke the mirror, the fragments of which lay in the left cell. 
Bedroom. I wanted this place to feel the way I felt when reading Franz Kafka's, "The Metamorphosis". 
Breaking Into Space. Bedrooms are great backdrops to convey a sense of space that sits between conscioussness and unconscious
space. Here, the room is being fractured or cut into blackness. The string reminds me of cracks that appear in a breaking mirror. 
Warm Bedroom. A favorite memory from childhood was fantasizing the cold recesses of outerspace so close to the cozily-lit rooms
in the Star Trek Next Generation T.V. show. Strange, I realize, but I wanted to represent the feeling of those two environments. 
Cell. The black lines were fingerpainted on the walls and floor. I like to create spaces where artificial confinement sneaks in as a theme. 
Puzzle and Paper Chair. Someone toying over a puzzle that would be impossible to assemble and a very insubstantial chair propped, blocks the outside. 
Candle Light. Two very odd ideas foreced together: A candle falsely illuminating the darkness. And, an antique paper telephone made of styrofoam and styrofoam cups.
I firmly believe that objects, which, have nothing to do with one another are more interesting to see in a photograph, than objects which obviously share similar traits. 
Railroad Tracks | Lighthouse Ladder. This hypothetical space portrays a topsey-turvey reality where
we are either looking up a ladder at a lighthouse bulb or down a railway at a coming train. 
Set in Set. Represents an environment that sits someplace in my mind at a crossroads between abstract representation (black and white, and space) and a
theatrical performance. We see the aftermath of, perhaps, someone who just fled the room. Like many of these images, the details are revealed in print form.
What I especially like about this is the erratic footsteps that look aesthetically pleasing and simultaneously manic. 
Cartographer's Station Near the Ocean. This set provides the warmth of the real ocean but is barely convincing; I favor this method of representation. Poor theatrics will allow
the viewer to conjure and free-associate. Relying on 'realistic' photographic documentation of place as a means to travel there in-mind doesn't do service to either. 
Glass House. One of my favorite titles, here the title actually works with the image. The image was created after the title, usually it's the reverse. Rachel was wonderful to hold that door up... Many of these are exposed with an 8x10 viewcamera. The benefits of which include larger print sizes, using smaller aperture sizes, negatives equivalent to 200 megapixels, and a rush knowing you just spent $25 to capture a single image. What I mean by that is, before exposure you're very aware of making certain the scene is as desired because of the costs associated with each capture. Digital image capture, despite it's many wonderful qualities, erodes that climax. 
Forest of Some Kind. Wanted to show what looks more like a document of a space with random things sitting about, than a space
with abstract or narrative intentions. Although created to be photographed like the others, this space appears less contrived. 
Empty Library, Secret Passage. Fascinated with the idea from cartoons that pulling on a library book will open a myserious gateway...
perhaps medieval castles really had triggers like these. More so than any image I created, this one best-resembles the original sketch.
All my work starts in sketch form but often deviates during production. Here, even the tape on the wall looks the way shelves would be sketched. 
Playroom. A first in the series and one my favorites. This is a platinum/palladium 8x10 contact photograph.
And, like the forest image, appears less contrived, more happened-upon, more real, perhaps thus..., more imaginative. 
Backdrop in Set. The first image of the series. It is obviously a juxtaposition of two spaces that rests somewhere in the collective unconscious. I say this because
it's easy to relate to and represents a dysutopian idea that's reflected culture for many generations. The 8 foot cornfield image was given to me in New Mexico.
It was an ad drymounted on gatorboard. I associate the entire image with a plight of country music. It was created to suggest a yearning to be apart of a simplified, lifestyle.
I don't mean to suggest that an agrarian, rural lifestyle is simple. Rather, that a lifestyle without Facebook, phone Apps, modern medicine, and the ever-hastening pace of things is something we unconsciously strive to break from. 
Playhouse. This image captures the sense of fleeting exigency better than the others. It makes me wonder still, what the hell was going on in that room.
