I place great emphasis on the materiality of an installation. The shot, the making of the image is only the beginning of the process. I also focus a lot of energy into the display and accompanying text that goes with the series or installation. I change my technique on what I want the viewer to recognize in the work. These works and the methods of installation are designed to extend the experience of a place. The installation of the image features elements that recall the experience and place.

Washington, DC is a city that I have more experience with than almost any other place. I have done the tourist thing where you walk around the mall and see all those pretty memorials removed from any negative context. I have studied its visual culture as a politically critical artist. I have worked for the military and contractors, commuting on its public transit and eating at it’s numerous food trucks. Currently I live in the Rosslyn skyline, just a couple blocks from Georgetown. I go to see museums, and read the Washingtonian and DCist. This place is, at the present moment, my city and my environment. Washington is a city of government. The government is never opaque. If New York was a city of bright glass and steel, D.C. is a city of pollution stained marble and rusted construction.

The Instax process provides an interesting contrast to the opaqueness of Washington DC. I am using this instant film, because it is the truthiest of film. It has a limited capability when it comes to editing the camera in process. The only modes are Hi Key, Very Sunny, Sunny, Cloudy and Indoors. Any viewer can easily see its typical development. You can see the person take the picture. You can hear the internal mechanics process the film. You can see the picture develop before your eyes.