I reshape ordinary environments for the fixed point of view of the camera to circumvent a perceptual routine. Using techniques of trompe l’oeil painting, I paint directly onto the surfaces of familiar objects and their surroundings to blur distinctions between foreground and background, paralleling the flatness of the final print. Paintbrush strokes, taped seams and wobbly edges are exposed in detailed focus, revealing the tactile process that goes into making the image. Resisting the perfection of digital manipulation, every discontinuity magnifies the precarious construction of pictorial space.

Like a play within a play, each photograph references its own structure, parodying the inherent doubling of photography to expose the subtle deceptions that are intrinsic to the medium. The shallow surface of the print and fragmentation of a single frame are overstated to emphasize the boundaries of their encapsulation, while alluding to that which is excluded. In exploration of what is omitted, presence is depicted as a ghostly impression, escaping total capture.