"A book. Consider a book. Before one can consider a book, one must consider what it is to have a text. A text is an arrray of words on paper. Or, if not words, other things that are to be read. One can have a text with no words at all - music or visual entities or symbols". Dick Higgins

The photographs I make have explored different ideas, but there is a single continuous thread that can be found throughout my work, and that is about different levels of revealing and concealing. I think of this as visual modulation. I am also interested in the anti-narrative, and disrupting expectations related to time based mediums, such as photography, sound, film, and the reading of a book. I use experimental music/sound works to influence my practice, with the hopes that otherworldly soundscapes will seep into my images to help create make-believe places. Most of all, I want the sensation of feeling (in the broadest sense of the word) to be present in the work that I make. 

Hybrid printmaking often combines a digital technology with a traditional print method. I thought that this would be a natural way to expand on and enhance my approach and thinking around my photographic practice. I have experimented with digitally printing photographs and then screenprinting and/or etching on top of the digital image to create a so called hybrid. I also use layers and blocks of colour, halftone, and collage in my photographic works to refer to screenprinting traditions. More recently I am thinking about printmaking more conceptually, and creating 'things' related to the subject/medium.

When thinking of a new project, I usually go to a sound memory. These could be sounds from a film or experienced in nature, but if they play over and over in my mind then I need to make it into something. Like a sound diary. I am also exploring the incorporation of my own sound works to accompany my images, this is a new idea, but it seems like a way for me to best regurgitate affect. I am interested in the loop of feeling and experience from the idea and making stage into the works to be felt and experienced by the viewer and back again. A continuum of feeling. I am also thinking of processes used in printmaking when approaching sound works. For example, the layers of sound like you would with print or the misregistration of the layers of sound like the misregistration often seen in screenprinting. 

The process of creating a book is fun. A playground between the front and back covers. It is a quasi-gallery instillation, but squeezed into a book. I can easily dip in and out of revealing and concealing, experiment with abstracted dialogue and conversation, and can add responsive text that plays with the images, and sometimes just let the images act without words. I don’t mind if you judge them by their covers.