The mechanisms of sight are my most insistent motivation. Examining this human faculty in relation to technological surrogates such as the camera allows its inherent limits to be ascertained and expanded. Through the use of spatial, chemical, mechanical, or technological methods of manipulation such as compressions of time or chemical transformation, I exploit the fundamental aspects of photographic media. Most recently, artificial lights inscribe themselves on film as both light source and subject matter, revealing an ethereal environment usually obscured by blinding luminosity. The idea of artificiality inherent in mechanical sight becomes entangled with the conventional assumption of photographic truth.  Infused with this photographic fact yet often divorced from representation, my works encourage reassessment of the systems that deliver and shape our cognitive impression. In treating imaging processes as surrogates for human vision, I hope to display the uncertainty inherent in the act of seeing and to examine our surroundings outside the restrictions of our physiological components.