My work is comprised of fabricated photographic images, most of them staged in my studio, some taken in real life settings, but all designed and created as my response to my life in new surroundings. Fabricating images in the studio gives me the ability to strip the image of its referents and blur traces of time and place. Beyond their flimsy and rather unconvincing plotlines, my photographs become self-conscious studies of the still image; this self-consciousness often occurs in the pictures by presenting a frame within the frame.

Although I borrow certain elements of cinema and painting while composing my imagery, the most important element of my pictures remains the unique nature of the still image marked by discontinuity and obscurity. I believe that these are the most important virtues that the still image holds in the era of moving pictures. A still image with no past and future can keep its audience in suspense forever, while moving images are required to offer resolutions. After all, every recorded action is a resolution in itself.

It is no coincidence that most of my photographs take place in a domestic setting. In our homes we seek safety and isolation, yet our homes often become the place where we confront our deepest fears. The alleged safety of the domestic place makes it the ideal setting for shaking its inhabitant, by making her witness the bizarre nature of the house. Ultimately, the house becomes a place of delusion and disorientation despite the romantic notion attached to it.