Philosophically, I believe that a photographer, and by extension photography, is more than just a tool to visually capture a physical moment in time. To become a work of art, an image must transcend just being a picture; it must capture the raw, unvarnished feelings experienced by the artist. This is of course, a lofty aspiration, but such is the realm of art. Perhaps this is why the term tortured is so often associated with artists.
I read another artist’s statement once, in which she compared her own craft to the rabbit-hole in the class tale, Alice in Wonderland. She indicated that the pursuit of her art continually drives her to see just how far down the rabbit-hole goes, always facing the potential danger of losing herself in the experience. This resonated with me on a level that could not be ignored, but after pondering the idea for some time, I decided that my vision and the expression of my craft, fine art photography, is less the rabbit-hole from Alice in Wonderland, and more the mirror from Through the Looking Glass. For me photography is about suspending time in order to clarify perceptual distortions; it is about the imperfection of reflections in both the corporeal and psychological sense; it is about the tension of polar opposites like black and white, or gradations of tonality and luminance.
I would love to say there is some method to the madness in how I select which subjects I photograph, but this would be counter to my belief that photography is about the extraordinary in everyday life. My art is inspired by one simple truth: there are no ordinary moments. Each new day, each blink of the eye, and each breath presents us with a new world; one that is ever changing, and one that we choose to actively live or passively ignore. In short, photography should be as much visceral and emotional, as it is visual; good art should force one to see, to experience, and to live in the moment.