I began assembling torn fragments of old illustrations of world art book and photographing them. I constantly add to and re-arrange these fragments, which I think of as shards. I use a variety of source materials for this project, both 2 and 3 dimension. The flat images are from a pre-war folio of images The Louvre produced on heavy weight paper. The sculptural elements are fragments I construct from these images to play with the viewers perception of the space I am creating. Here I use natural light almost like glue. A third medium to even out the other two bodies of work and lend a unifying element to my arrangements. My eye remains on photography in relation to perception. For example, we tend to view the intact illustrations of, say, paintings, as “paintings” before acknowledging them as photographs. In “Shards” one means through which I shatter that perception is by drawing attention to the ragged edges of the ripped illustrations. I am emotionally as well as aesthetically drawn to the original works of art. And I feel similarly about the illustrations as well, with their immediate, touchable accessibility that allows me to make them my own, conceptually and artistically. For example, all the fragments are pictures of stone, and the stone-colored compositions are meant to evoke relationships between artistically wrought human figures from the Greco-Roman and Baroque periods, on the one hand, and rough mineral matter on the other.

Throughout my work a key artistic principle has been proximity. Proximity has three senses here: a look of relative flatness; an actual close-up view of the subject (in this case, my assemblages of paper fragments); and the use of easily accessible motifs—accessible because the number of available reproductions seems almost limitless. “Shards” allows me to pursue revelations that variously emphasize personal, formal, and cultural issues.