This work focuses on the phenomenological aspects of photographic language. These photographs examine the construction and manipulation of objects and surfaces through experimentations in the studio and the field. They incorporate painting and sculptural references in both constructed and found subjects. They use reductive framing to disorient the viewer and perform faux techniques, sourced from commercial markets, to call attention to an object's contradictory presence. I’m interested in producing works that misrepresent the subject and keep the viewer in a suspended state of recognition.