As a student at the University of Delaware, I came to both fall in love with and despise the CSX freight train that rumbled passed my studio and my apartment twenty times a day. Through my restricted view from my apartment window and stuck in line behind the gate at the train crossings, I became aware of the similarities between trains and film. Both are very long, very thin objects that are seldom seen in their entirety. Both are naturally viewed through a gated frame of reference in a sequence that is defined by their physical characteristics. Both trains and physical film are space-time objects, where a single point arrives at a specific time and a moment in time has a coordinated position in physical space. By manipulating, duplicating, and offsetting the film gate or frame of reference I explore the space-time relationships of time-based media.
Seeking to explore the visual texture of the cinema, the Topography series transforms color and brightness values into a textural surface. The result is a new vision of the cinematic image, where the viewer is alternately confronted by an abstract, three-dimensional form and a recognizable cinematic image.