In the initial stages of image production, I’m reconstituting printer’s ink and pouring and pulling it across a smooth paper surface with a large metal rule.  This repetitive action and its ensuing forms connote the layering of present experiences over erased histories – palimpsests of viscera.

I often produce a verso, or negative image of the photographed drawing.  Deviations from the original image, they challenge the primacy of the initial mark.  Blurring boundaries between copy and the original, the photographs diverge from the initial prototype, manifest in their digital manipulation and processing.  An essential component in this mirroring process is an implied transition from the corporeal to the spiritual, attempting to place the works within larger frameworks of inquiry.  Simple, one to two-word naming systems correlate to the imagery’s primordial aspects and to the act of duplication.  In titling the works, I look to describe a simple, guttural translation of form similar to the origins of speech.  Pseudo-science functions as subtext to cloak themes of deception and desire.