I don't paint, I look. The act of looking helps me understand time, care, and a structure that happens between. I'm interested in how items of importance are kept. My images record known objects so that we may study them and discern their value. Quality of light present and delicate printing of the photograph inhabit my fondness to the objects depicted. They are a commemorative gesture to hold on. Performances document a pathetic attempt to care for something I can't preserve. Being sensitive to clean line and colors present, I'm compelled to remove the weeds at a public sculpture so it's view is not obstructed. I reconstitute a tree as memorial to one that effected the light that came in my window. These removals and reconstructions are my desire to connect with an environment or situation that was familiar. When encountering my work, I'm ask the viewer to slow down and look with me. I want photographs and performative actions to foster engagement with de-familiarized spaces. I meet their perception with openness so that we can see this new space together.