Collectively titled SILENT VOICES my work focuses on issues of social justice and/or the environment. The source material is specific: news stories found in the New York Times. However my presentations are more reductive, opening the works to individual memories of current narratives. I use a collage aesthetic in the selection and layering of content and materials which results in a multitude of psychologically fraught references. The goal is to invite dialogues and conversations on pressing global issues. Many of my larger installations: No Olvidado’, ‘Parallel Migrations’ and Field Fire are created in challenging and remote outdoor locations demanding photographic documentation before they are destroyed or eliminated by natural forces ( ocean, wind, rain, snow). The precarious and transient nature of the installations parallels the perilous journeys of both migrants and refugees.. In contrast my latest series; ”Remains of the Day’ is unique in that it is more compressed physically and conceptually; a result of the pandemic. While allowing me to address issues relevant to the moment: climate change and species decline ‘Remains’ does not necessitate major construction or transportation. The reduced scale allows me to create works which appear, at first glance to have been found when, in ‘fact’ they have been meticulously constructed. All of the materials have been gleaned from the surf and sand during off hours and off season: safer. Using found objects both discarded and native to the site, I layer and assemble them until the total image looks to be an intrinsic part of the environment. After photographing I bag the manmade debris as site specific evidence of pollution. Back in the studio the objects are researched and used for the master label which is presented in a Riker box. ( the latter are used by scientists to store specimens both natural and constructed ) The scale, sites and sculptural elements selected for all my installations provide both a narrative base and a certain intimacy for the viewer.