“The sharp sunshine of early summer dappled the surface of the alley with the hard shadows of
the branches that stretched over head. Without wind to move the branches, the shadows looked
like permanent stains, destined to remain imprinted on the pavement for ever”.
Murakami,The Wind Up Bird Chronicle, p12-13

The work stems from an engagement with moving light and cast shadows, as quiet markers of
time their movement implies a rightful passing through space. It is based on experiments in
shadow catching and light tracing to interrupt, imprint and record layers of time.

These experiments attempt to solidify passing light and lift shadows in various ways, to chart and
duplicate their ethereality, to futilely preserve an ever receding tide line.

Chalk, dust and photography are central elements in my process . Chalk and dust are natural
indicies of passing time. Chalk here is used to trace shadow lines and dust to draw lines of light
in the air. Photography, projection, video and darkroom spaces are apt mediums , as
apparatuses they capture , hold and project the work.

In these ways it resonates the ontology of photography in a metaphorical and literal way,
echoing the early realization of Fox Talbot that photography shifted the essence of light and
turned time into space. By its nature the process and projection of the work is durational.