Photography’s relationship to reality has always been tenuous at best. The photographer’s bias has more sway over a photograph than its subject. Yet photography is often relegated to a documentary role, one in which the two-dimensional photographic surface takes a backseat to representation.

My work has more in common with painting, particularly Abstract Expressionism and Pop Art, than the photographic tradition. I’m more interested in the transformative power of art than placing the viewer within the frame of the photograph.

I use available light and straight photographic techniques to capture the banal and meaningless, the forgotten areas of modern urban life. I’m looking for that moment of transcendence when the third dimension collapses onto the ideal plane of the photograph and a new reality is born.

It is a world largely devoid of life, but this is evident: Man has left his mark. Fortunately, there is beauty to be found in color, form and texture. Long after Les Desmoiselles d’Avignon and The Lovesong of J. Alfred Prufrock proclaimed its death, the pulse of beauty is still beating, fighting to take hold in an age overshadowed by the ravages of consumerism, industrialization and greed. In this way, my work is a monument to the tenacity of hope and a common dream of equality.