Photography as a form of art and the implication of its continued pursuit has evolved for me over the last several years. I am fascinated by the intrinsic capacity of the medium to be expressive while conveying the potential of evidentiary truth. The images I make seek that duality of purpose in which content carries the potential of social value, while I endeavor to create increasingly refined images in which the architecture of composition and the interplay of light become my most significant subjects.
Though I am inspired by and at times aligned with the motivations of previous generations of photographers to apply the inherent capabilities of the photograph to the experience of places and historical happenings, I do not attempt to repeat those images, rather to be guided by them. My approach has included both analog and digital methods to appropriately accommodate the qualities of my uniquely varied subjects. When I photographed the training of US Army soldiers embedded in a series of immersive war games I utilized small format digital cameras for their portability and speed. In documenting the remains of Louisiana’s extant pre-Civil War fortifications I employed a drone-mounted camera to better describe the coastal landscape and to open commentary about advances in military technologies.
As a photograph carries the latency of direct vicarious experience, my work strives for meaning past its usefulness as descriptive documents. I find myself continually drawn to consider the rhythm of being and being-towards death as an absolute. The unique nature of the photograph in its relationship to time and the temporal then becomes our only existing method of interfering with the death of existence.