Subjectively my work is a dialectic between the fears of 
grown women and the fantasies of girls. I often pull from 
horror films and fairy tales, as well as make the everyday 
become absurd. The subject is often dwarfed by the 
environmental location and the mood of the photograph is 
strongly dependent upon the interaction of the subject 
with the environment. The environment acts as a character 
rather than a place. I want the subject and the environment 
to coexist.

My photographs are composed of tense moments that determine 
how the viewer will perceive the mood of the image. I am 
strongly influenced by the effects of psychological drama 
within the films of Hitchcock, Tom Tykwer, and Michel 
Gondry. I often have a resistance with the photographic 
convention of the still image. My love for film has crossed 
over and persuaded me to use multiple frames to create a 
different perception that dictates the narrative event. Most 
importantly I challenge the viewer to engage with the image 
and search for a purpose within the narrative. I do this to 
open a dialogue between the mode of representation within 
photography and the mode of representation within film. I am 
very much interested in the idea of linear time, which is 
inherent in a narrative film, but absent within the single 
frame of a photograph.

The strength of my narrative is dependent upon the 
information that is excluded from the photographic frame. 
The photographs allude to events, but no direct narrative is 
evident. Often the audience is confused by the ambiguity of 
direction within the photograph. Ultimately my goal is to 
force the viewer to make a conclusion based not only on the 
elements of the photograph but by the baggage that the viewer 
psychologically taps into to make such a conclusion.