The fragments of imagery that appear in my work are taken from everything that is closest to me, most familiar and banal. The more everyday a scene or object, the more and more unnerving it becomes when disrupted from its familiar context.
My cutting away of the photocopies plays into an impossible desire to see without completely placing, identifying or labeling. Cutting and reducing shapes strips away the stillness of the snapshot, leaving the forms inside free to occupy a longer, less defined moment in time. How far removed from its context does a shape need to be before it starts to flicker between various identities, to have multiple “functions”, to become a receptacle for meaning rather than to claim that it has some intrinsic identity?