Originally beginning my photography as a way to capture the ephemeral moments that saturate the short lives of punk bands, my camera has in turn become the midwife of a mind pregnant with images. I shoot film, rather than digital, because it allows me to engage with the physical mediation of images, a mediation that mirrors the distancing relationship of memory to moment. The mind selects disparate phenomena and recombines them as a mediation of reality. The film strip, with its various stocks and capabilities for representation, functions in a similar manner. Image falls next to image, upon image, and before image without the clarity of the digital form. These photographs mimic the inevitable degradation of memory with their combinations, distortions, and imperfections.
