I use photography to play a game of pathological carelessness and bad judgment.

Rules to the game require that I am the photographer and model, and invisible as both. I am the model taking a photograph with a remote or self-timer, who is trying to be seen in an image designed by a photographer (myself) who is never behind the camera when the shutter is released.

I locate the contemporary context of this game in the work of self-portrait photographers Francesca Woodman and Cyndi Sherman. Woodman combines an elegant, timeless modernist aesthetic with disturbing vulnerability while Sherman uses color, wit, and conceptual vigor; both artists base self-representation on tragic narratives from film and mythology, identifying victim and villain in each image.

The rules to my game combine Woodman and Sherman’s aesthetic choices to build a progressive narrative of complex questions about power and representation which provide no easy answers. I incite the viewer to ask themselves “how am I supposed to feel about this?” and “who am I suppose to blame?” in the same image.

The compulsion of my photographs, my interest in moving the visual language of self-representation forward, is a restless exploration for a new relationship with oneself as consenting object in the context of one's own design.