I am a photographer who thinks like a painter. I gather images with a digital camera and then I later rework them digitally to create images that could easily be mistaken for paintings. This approach is fluid and affords me a freedom that I don’t have with any other medium. When I am on a picture-taking trip, I often start working as soon as the sun is up, and I shoot until there is no more light. Casting a wide net, I shoot a variety of subjects. I look for scenes that I can compose in a thought-provoking way and color combinations that somehow stir me without attempting to edit the work or discriminate when in the field. When I get back to my studio, I sort through my images, and then choose the ones that have staying power for me. I’m not interested in merely reproducing a particular scene or image photographically; I am more interested in collecting the raw visual materials that allow me to explore the inherent dynamics and tensions of the picture plane. I may add very little to the photograph, or I could work on it extensively – it depends on each individual image.  Lately I have been drawn to Mexico. I have found colors and settings there that I have not seen anywhere else. In this body of work, I have focused on two-dimensional surfaces and the abstract images that are formed through time, weather and/or human interaction with building materials. These found images document a history of ordinary (or perhaps not so ordinary) moments and the end result is incidental beauty. My work is really a collaboration with forces and elements that have preceded me; it is about a connection between the physical world and the non-material world in an attempt to make visible what others may not have seen.