I use constructed imagery to convey several themes. One is the possibility of life after life and the passage of the soul between these two planes of existence, as seen in the Beginning and Jumping into Vortex. Another is the theme of humanity's relationship with the natural world and its mysteries, which can be seen, for instance, in my series of Sasquatch works. In many of my constructed imagery photographs I use animals as characters, both as actors in their own right and to convey aspects of human experience to the viewer. The key elements of light, shadow and color combine with each of these themes to suggest an overarching sense of longing--for what once was, what could be, and what can never come to pass.
Constructed imagery is the photographing of deliberately created, rather than found, scenes. Each piece of my constructed imagery is handcrafted using a variety of raw materials, including tissue and construction paper, drawings, photographs, plants, and other natural and artificial materials. The resulting three-dimensional, densely layered piece is then photographed using an original technique that preserves the mise en scène. The end effect is an image of shadow theater, blending mythology, fantasy and reality.
My Sasquatch work explores the relationship between modern society and the vanishing wilderness over which it is overlaid. A particular inspiration of mine is the sharp contrast between the high-tech culture of the Pacific Northwest and the natural majesty that forms the backdrop to its inhabitants' daily lives. As our population swells and the forest retreats, I hope we do not lose sight of the mysteries that lie within it.