My work is, in equal parts, an ongoing interrogation of photographic veracity and a critique of authoritarian power. Except when it isn't (I am learning to embrace contradiction and paradox).

I’ve worked for more than a decade on projects that relate to the United States intelligence community and attendant issues such as surveillance, secrecy, deception and violence, but my more recent work departs from the specificity and overtly political agenda of that work.

Nonetheless, in my recent Decoys, Duds and Dummies project (goofy, minimal still-lifes, and film-scratched landscapes) my preoccupation with veracity finds a foothold in spaces, objects, and surfaces that masquerade as quotidian and familiar but are clearly unreliable narrators.

Object Oriented Ontology factors into this equation, as does the modernist obsession with the grid, particularly as it informs photography’s digital evolution. The familiar checkerboard grid of a transparent layer in Photoshop, which is now more a signifier of empty space than actual empty space, represents more than a passive, benign background.

Hand-constructed environments and objects impersonate their virtual counterparts and reveal the circular logic that undergirds the current popular fascination with 3D printing and related imaging technologies.