• 
  
  Passage Out. These works create a slightly more-polished fiction than the abstract imagery.
• 
  
  
• 
  
  Living Room. Here, I brought walls from the studio to collide with our house during a shoot. It creates a frenetic but clean
  juxtaposition of spaces. An anesthetized, clincal space, and a controlled KB Home type of space.
• 
  
  Interrogation Room. Chairs are often stand-ins for humans and situations.
• 
  
  Picture of a Painting of the Sun. On the desk is a picture of a sunset. The desklamp illuminates the 'sun' in the photograph. I took the photograph
  of the beautiful sunset and wanted to infuse more meaning than the idea that a photograph is an adequate representation of such beautiful things.
• 
  
  Dark Cupboard. This strikes a nice balance between appearing haunted, tense, and pleasant. The combination of these three things is what this work strives to do.
• 
  
  Division Day. Very cold office adjacent an inviting living room... At least 'inviting' meaning, it doesn't feel
  like the other clinical or warehouse spaces. The TV echoes the inviting blue twilight.
• 
  
  Astrolab. Wallpaper with stars, a black pile of star-like clusters, and seemingly real stars outside. Like some of
  the others, at first glance it appears deranged though it's intended to be approached through imagination and unconventional narrative.
  I like when we can't approach what we see literally.
• 
  
  Redroom. A very bizarre laboratory with cardboard kitchen doors, test tubes piled on the table. Again, hopefully creepy and alluring.
• 
  
  Viewing Rooms. Wanted to create a fractured sense of space and on a very minimal budget abstractly
  glamorize those places men go to shovel money into devices that illuminate nude or semi-nude models.
• 
  
  Waiting Room. The scene intentionally pushes a lot of what's normally in a room into the margins. We're left with a bunch of dirt, filth, chair and intense light spot.
• 
  
  Zoo. Looks almost exactly like the original sketch. Cartoonish portrayal of animals behind cardboard bars.
• 
  
  Set Built to Photograph Rachel's Sunburn. I wanted to capture the idea of what documentary photography does very well, truthfully capture subject matter or capture with an agenda. But here, banal subject matter is blown way out of proportion. I've allied this idea to other imagery... say, cup of water at Disney World, or caution tape near lava explosion.
• 
  
  Freezer, Incinerator.
• 
  
  Bedroom, French Quarter. This was my first exposure using the 8x10 viewcamera. Maybe around 2000. It's no longer convenient to process color 8x10 film, which is ashame, because it heightens your senses and captures imagery the way I want to remember people and space. I carefully terrorized this bedroom, took one photo, then set it back before leaving.
• 
  
  The Office WITH the Window. An over-dramatization of the office cubicle, and where we find ourselves 10 hours a day, 50 hours a week, 113,000 hours a lifetime.
• 
  
  Artifact. A platinum/palladium photograph. A wonderful process of creating photographs. The photographer literally paints the emulsion onto paper that is
  exposed to sunlight for a time. I categorize photographs in two ways. Concave and convex. A concave photograph allows you to sink into the illusion it's
  trying to convey. Wheras, a convex photograph pops subject matter, often disregarding the entire frame. Photographs can also portray a combination of both.