Tyvek Pano Installation Shot
Tyvek Pano Installation Shot

inkjet on tyvek, size variable, edition 5, 2016.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.



Toned Serpentine 1
Toned Serpentine 1

watercolor on pigment print, 20” x 16”, 2016.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Toned Serpentine 2
Toned Serpentine 2

watercolor on pigment print, 20” x 16”, 2016.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine 1 & 2, Installation Shot
Serpentine 1 & 2, Installation Shot

watercolor on pigment print, 20” x 16” each, 2016.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine Pano Inverse
Serpentine Pano Inverse

watercolor on archival pigment print, 47" x 72", 2016, ed. 5.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine Day for Night 1,
Serpentine Day for Night 1,

watercolor on pigment print, 44" x 37", 2016. Edition Variee 5.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine Day for Night 2
Serpentine Day for Night 2

watercolor on pigment print, 44" x 37", 2016. Edition Variee 5.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine Pano
Serpentine Pano

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Tyvek Pano 1
Tyvek Pano 1

inkjet on Tyvek, size variable, 2015. Installation shot.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Tyvek Pano 1
Tyvek Pano 1

inkjet on Tyvek, size variable, 2015. Installation shot.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.



Serpentine 3 & 4, Installation Shot
Serpentine 3 & 4, Installation Shot

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Tyvek Pano 2
Tyvek Pano 2

inkjet on Tyvek, size variable, 2015. Installation shot.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.



Serpentine 4
Serpentine 4

pigment print, 20” x 16”, 2014.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.



Tyvek Pano Installation Shot
Toned Serpentine 1
Toned Serpentine 2
Serpentine 1 & 2, Installation Shot
Serpentine Pano Inverse
Serpentine Day for Night 1,
Serpentine Day for Night 2
Serpentine Pano
Tyvek Pano 1
Tyvek Pano 1
Serpentine 3 & 4, Installation Shot
Tyvek Pano 2
Serpentine 4
Tyvek Pano Installation Shot

inkjet on tyvek, size variable, edition 5, 2016.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.



Toned Serpentine 1

watercolor on pigment print, 20” x 16”, 2016.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Toned Serpentine 2

watercolor on pigment print, 20” x 16”, 2016.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine 1 & 2, Installation Shot

watercolor on pigment print, 20” x 16” each, 2016.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine Pano Inverse

watercolor on archival pigment print, 47" x 72", 2016, ed. 5.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine Day for Night 1,

watercolor on pigment print, 44" x 37", 2016. Edition Variee 5.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine Day for Night 2

watercolor on pigment print, 44" x 37", 2016. Edition Variee 5.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Serpentine Pano

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Tyvek Pano 1

inkjet on Tyvek, size variable, 2015. Installation shot.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Tyvek Pano 1

inkjet on Tyvek, size variable, 2015. Installation shot.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.



Serpentine 3 & 4, Installation Shot

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.


Tyvek Pano 2

inkjet on Tyvek, size variable, 2015. Installation shot.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.



Serpentine 4

pigment print, 20” x 16”, 2014.

Stitches is an investigation of photography and materiality. Using digital stitching software and automation, I have created both large-scale stitched panoramas and smaller prints as a way to explore the possibilities of the essential constituents of the photograph- the indexical (the photograph points to something in the real world) and the material (the image is made of something whether it is photosensitive emulsion or pixels). I am shooting the photographs in ways that tax the software and introduce glitches in its ability to stitch. The large panoramas are printed on Tyvek, an industrial material used to wrap houses, and pinned directly to the wall. Often, I hand tint the smaller prints with watercolor. The processes of stretching, warping and stitching and the approximated, imagined colors used for tinting further attenuate the photograph’s already compromised relationship to factual truth.



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