The work began with noticing.
Flowers, stones, bowls, fruit, tools, photographs, insects, and ordinary things from around my life entered that little space and changed inside the light. One of the first sustained studies followed garlic scapes from my garden for more than a month. I kept returning to the same table, the same wall, the same light, and the same changing plant material.
Eventually, the Brown Wall became a place of return.
The objects in these photographs are not there to explain the flowers. They make the pictures less settled. They ask you to look again: Why is that there? Where did it come from? Who used it? What happened just outside the frame?
Before returning to visual art, I spent decades working in systems, data, and engineering. That history is still very much present in how I work. I build archives. I follow sequences. I notice small changes. I look for patterns.
But the photographs don’t begin with theory.
They begin with the moment something becomes impossible to ignore.
Objects, flowers, light, and time.