STATEMENT: This piece from the pinbox garden series captures leaves floating passively in a transparent plastic box. Each leaf is branded with the recycle symbol, not noticeable at first. The apparent beauty of the leaf at a distance falls away when inspected more closely.

STATEMENT: Pinbox Garden with Ivy explores the tension between the man-made environment of the box and the ivy which has been removed from life support systems and floats within the confinement of the showcase. A recycle symbol is embedded in each leaf--just in case we might forget.

STATEMENT: The supposed freedom and freeness of the leaf are juxtaposed with the electronic tracking tag as well as an embedded barcode. While the adhesive tracker provides a measure of definition and valuation associated with its present, the addressing bar code predicts its future.

STATEMENT: This giant pseudo-contact sheet depicts a collection of shadows cast across various sidewalks in Paris. Appearing to be both negative and positive, the shadows are at once transparent and in some cases quite solid and almost dimensional. Part observation, part analysis, the piece explores the ephemeral personalizing of place over space and time. The malleability of the digital environment enables a distancing of the images from their points of origin.

STATEMENT: This collection of 25 tree gardens documents a common urban form of self-expression. Though the purpose of these displays is ostensibly to protect the tree, their varied morphology suggests larger issues. The brown paper and sepia color cast are intended to warp the present tense. The refreshingly non-commercial nature of the displays is in stark contrast to their surrounding environments.

STATEMENT: Though alluding to photography with the contact sheet format, this array shot at Notre Dame Cathedral in Paris edits away certain aspects of the original negatives without fictionalizing the core information. Shot from a fixed location over a period of time, the images show tourist after tourist selecting virtually the same image. As the clouds and shadows change, so do the players in this instinctive photo op. The distressed look of the information is the signature of the artistic analysis.

STATEMENT: Few subjects are at once as pedestrian and symbol laden as bread. In short, bread is a loaded image culturally shared. Despite the irony of baking a copyright symbol into the loaf, it is intended to provoke and gently offend. The piece challenges the premise of claiming ownership of something shared by all.

STATEMENT: Cinnamon Swirl (above) and Burnt Toast are sequels to an earlier work called Thin Slice of Life (see proto works gallery) which depicted a slice of bread with a toasted bar code. When Thin Slice was done in 1997 it was novel enough to imagine a bar code permanently affixed to product and a little outrageous that the corporate decoration was encrypted from the consumer. Today these ideas are pabulum. This toast is branded with legal registration like yellow warning stripes on asphalt. Pumpernickel with mustard or fear and loathing?

STATEMENT: Each of the incubator pieces consists of beans grown on the scanner and recored daily. Artistic data thus collected is treated like clay--as matrix rather than solely document. The pieces at once acknowledge and deny their contradictory roles of observation and interpretation. The germinating seeds bear copyright notice which implies a toll on the observer.

STATEMENT: This is the first of the Incubator pieces--before the water and the copyright symbols were added. The box is at least as strong a presence as the solitary and enigmatic seeds. The history of the box as documented in its many scratches is one of the many ways in which aspects of the image are selectively intensified.