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    My work treats intensely subjective themes that could not be realized were it 
not for the processes of computer-imaging technology. All of the images, be 
they classed as still life, narrative, or portraiture, employ my body, my 
hands, my face, as artificer and artifact. 

When a camera takes a picture, it captures an image in an instant. When a 
scanner takes a picture, it captures an image one line at a time. My art 
exploits the process by which a scanner "takes a picture" to create digital 
images that do not use software to create distortions or manipulate an image.
My images usually start out as scans of my hand holding an object or objects 
and moving across the bed of the scanner as it is scanning. I then use 
Photoshop to clean up the scan, tweak the color and make other minor changes. 

In the Head Shot series, the face displays passions so extreme that the 
corporeal architecture comes undone, allowing even the self to be savaged. A 
mad intensity illumines the eye, hair swirls in fearsome vortices, while the 
mouth becomes a loathsome orifice. In contrast, Bare Love offers a tender 
playful vision, where a banal salt and pepper set enacts the interplay of 
lovers guided and supported by a creator's hand. Here, the mocking irony of 
post-modernist esthetic is eschewed. 

In With Two Hands and My Left Hand the "trickster" potential of digital 
imaging is demonstrated. The images' deformative effects are not accomplished 
by software manipulation, rather they result from the properties of image 
scanning. Objects moving across the scanner's bed are recorded line by line, 
moment by moment. By employing and exploiting the scanner as camera, the 
resulting images bear the performative imprint.