Vision is shaped by the time in which we live, and life today can no longer be distinguished from the influences of mechanical and technological means of perception. The knowledge of our world is received primarily through the camera. Photography, video, television, film, and the internet all use images based on the camera. These forms construct our media. Most of our experience is mediated through one or more of these devices of perception. As our environment becomes increasingly mediated, so does our experience. Fragmentation occurs in the way we experience and construct meaning from this contemporary experience. My work is a direct reaction to this environment.

Photography is a language that I use to describe my experience. Photography, like any language, has a grammar, syntax, and vocabulary. By manipulating the syntax and grammar of photography, I explore and express the concept of fragmentation. I use digital technology to manipulate this language. The language of photography comes with certain qualities and characteristics. Photography is a time-based medium. Each photograph is a piece of time and space. It is associated with and represents our memory. Photographs also represent the real. They become symbols of the real. We save and collect photographs in albums, boxes, and now on hard drives. We take photographs to help us remember. They are a way to document and record our lives. When viewing photographs they often cause us to reflect on our own lives and experience.
The modern view of technology, photography especially, is that through mechanical and technological devices of perception we will be able to have a clear and concise vision of the world. Photography sees beyond the human eye, seeing further. My work challenges this modern concept, placing my work in a postmodern stance. My work is about a vision of time. Time for us is set in a linear narrative. We are born and we someday die. Both are distinct moments in the timeline of existence.
The images I create represent how we structure our lives in relation to memory and experience. The formal qualities of my work force a reexamination of time, in relation to perception. I am dismantling the structure and the importance of the single image, and resorting it though the technology of Photoshop, giving it a new structure. I find that my work restructures this linear timeline into a more organic form. This new form represents how we see through the collective of our experience. The new fragmented form disrupts the view of one moment to a multiplicity of viewpoints. Through the dialogue the viewer may contemplate the concepts of memory and its relationship to meaning and experience. My work reveals how complicated memory informs meaning. The fragmentation shows the memory is composed of multiple and often contradictory perceptions. Understanding meaning obtained from photography, and other technological forms of perception, in this way shows that the modernist notion of photography is incomplete. My work reveals photography’s capacity to withhold and thwart clear and concise meaning. I find this to be interesting.
Fragmentation also occurs in the language we have created to explain and talk about art. The past 30 years have deconstructed the vocabulary we use to a degree that we now have a fragmented dialogue. We are not quite sure what signs and symbols to trust or mistrust. This allows art to explore and incorporate all forms, styles, and concepts of the past, thus my work is postmodern.