The reality of photography lay in its "truths" about the world it records; an instant in time, or a description of space. In my work, I choose to concentrate on these elements, using only light (historically the original and necessary component in photography) to create an image that captures fragments of time thus describing a space one normally does not see. This space is abstract, either drawn directly onto the photographic paper or created through light drawings caught by the mechanics of a slow shutter speed/camera movement onto film. Time is recorded as a gesture. Line, shape and movement play important roles in the composition of my imagery. Light, which is drawn onto the photographic canvas, serves as my metaphorical paint.

Issues of what is "real" disappear as the "abstract" informs my image-making activities. The visual gestalt of light and line have been transformed into a dual exploration involving symmetry and asymmetry, positive and negative space, light and dark, intention and chance, consciousness and subconsciousness. My use of materials and nontraditional photographic processes results in a pure abstract image within which the source is not identifiable, reinforcing the infrastructure of the work, its content and its context.

Intricate to the work is the evidence left by the gesture of the human hand. I believe that within photography, as in painting and drawing, particular calligraphic marks and gestures unique to each individual artist can be used to develop an overall image. By engaging in gestural automatic writing, the creative power of the subconscious mind can be unleashed to attain a heightened perception of visual purity and lucidity of process. The automatic responses generated by this process provide the essence of truth and purity within my work.

Like the Surrealists, I believe that drawing is the original source of all writing and visual art. When creating my work, much emphasis is placed upon the original primal mark. This innate and natural mark or gesture emerges to record unique impressions of time and space. Expression of movement is also vital to the work; not only the recorded movement of the hand that created the marks, but also the more universal concept of movement as it relates to the natural world - the ubiquitous ebb and flow of the oceans or the movements of the planets around the stars in our universe. This exploration of gesture-as-subject within my work is largely unexplored in the photographic medium.

While abstraction often seems like a contradiction in terms for photography, perception as we know is not always "truth", and my work allows for interpretation and the nuances of subjectivity, the unconscious, and the challenge of reading an image that remains "imageless." Photography can be and is an expressive medium within which the evidence of the artist's hand and process can be recorded and recognized.