My 16 mm films encompass documentary, diaristic, and fictive universes that push the boundaries of the narrative form. As a photographer and 16mm filmmaker, I am interested in the crossover between static and dynamic images, and in exploring how both can be conjoined to tell and retell stories. Many of my films use my black and white photographs as source material, wherein the photographic document is relied on partly as an object of truth, and partly as an infinitely malleable image-base. The flux between the still and moving image allows narratives to continually develop and shift and provides a means for examining conceptual relationships between photography, time, image and memory.

My film work explores mnemic experience and exposes the limitations of verbal language through charged emotional/visual registers. Derivative of surrealism, my films transform "real space" through extensive manipulation and layering that includes lens alterations, re-photography, hand processing and multiple exposures in-camera. These processes catalyze unexpected chances that allow me to further investigate facets of identity, memory and dream. Layering also functions as a metaphor for the compounded layers of emotive, aural and visual experience encoded in memory. Evidencing the hand-made, and making the physical processing of the celluloid medium visible, similarly creates a physiological trace that becomes another index of remembrance.