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My approach to the creation of the works can be divided into two events: the process and the production. In the process step of my practice, I experiment with materials to gain an understanding of the structure of the photographic print, which reflects the early photographers and their search for knowledge while also organizing my own thought processes in order to move to the production phase. Seeking a deeper understanding of how particular materials function, the initial approaches I take to a work’s conception are as deliberate as possible. I attempt to avoid “happy accidents” that may obscure why particular material interactions occur. This consideration is followed by the production step, which consists of manufacturing the works with a specific intention to deal with issues of surface, mark making, and aesthetics. At this point, physical labor becomes fully realized and central to my practice. In this two-step endeavor, I am part scientist, part artist, and create a body of works that show my physical and mental involvement with photographic material.