Shooting "A Tiny Surprise Every Single Time"

Shooting "A Tiny Surprise Every Single Time."


On the set of the installation - series re:collection. 2009.

On the set of the installation - series re:collection. 2009.

Artist Statement

My artistic processes explore the constructs of memory, loss of memory, and nostalgia in regard to lost, forgotten, or discarded domestic photographic objects.  Some of my interests focus on the reconstruction of imagery from the appropriated family photograph or Kodachrome and its representation in an entirely new yet familiar experience. 

This process facilitates the investigation of the relationship between family photographs, formation of individual memory and the life cycle of family narrative. My work raises questions about the normative sociological factors at play in memory preservation and the constructed family narrative as reflected in the vernacular photograph.

My ongoing body of work, Re:collection, speaks not only to the idea of memory, but also to recovering knowledge and remembering.  The images serve as the memory or what is recollected. This work is based on the idea that photography and memory walk hand in hand. The family photograph serves as a powerful tool and can spark a memory even if it is not of your own family. The photograph now serves as the memory for what is recollected.

The foundation of the work in Re:collection focuses on the following questions: Does the photograph stand in for the memory or do I remember the actual moment of the photograph?  When I look at other’s photographs, do I see their memory or do I simply get taken back to a similar image from my own past?  These questions lead me to conceptualize the image as a substitution for a memory that was forgotten or a moment that never truly happened.

My artistic interests are held strong in the constructs of time, memory and loss.  My work is meant to evoke personal memory. The memory becomes the subject matter in this fragmented view of the (discarded or forgotten) family moment.  With memory as the subject matter, the viewers are forced to experience memory in a fractured state.

“This fatality (no photograph without something or someone) involves Photography in the vast disorder of objects – of all the objects in the world: why choose (why photograph) this object, this moment, rather than some other? …Whatever it grants to vision and whatever its manner, a photograph is always invisible: it is not it that we see.”

 -Roland Barthes