A curatorial note on images vs. objects
The photographs on these pages are, by necessity, representations—documents of works that ultimately live in three dimensions, in real scale, and in real light.
Many of the pieces presented here depend on physical conditions that a camera can only partially translate: shifting perspective as you move, the true incidence of light across varied surfaces, the tension between texture and edge, and the quiet evidence of fabrication—joins, seams, layers, and accumulated decisions. In a photograph, those qualities are compressed into a single, fixed viewpoint, and the work’s temporal life (how it changes as you approach, circle, or linger) is largely flattened.
Images also impose their own biases. A lens edits; a crop prioritizes; exposure and color balance interpret; screens and prints re-translate. Even conscientious documentation can overemphasize certain readings while muting others—scale, material presence, depth, and the subtle optical effects that emerge only when the object shares your space.
So consider the photo documentation as a guide rather than a substitute: an entry point, a set of clues, and a record of specific moments in a work’s viewing. The actual pieces are built to be encountered—not merely seen—where their dimensionality, physical complexity, and perceptual behavior can unfold through closer immersion and examination.
If any work feels as though it might reward that kind of encounter, I’m always happy to provide additional views, process details, or context upon request.