My current work originates in the conceptual art of the 1970s, as well as its roots in surrealism and dada.

Utilizing the juxtaposition of selected photographic images and text, these pieces are meant to strip down to the artist’s free associations.

They also represent a chronicle of these associations—the pieces shown here are a small fraction of this ongoing project.

I have taken to using toys and miniature figures as cast members. Most of the work has a sense of sardonic humor, but that humor should not be confused with a lack of seriousness.

Rather, these can be considered crystallizations of my encounters with ongoing cultural conversations. In form and content, these pieces foreground the artist’s confrontation with the very roots of perception and cognition.

Many of my pieces start with photographing very small objects, HO scale model railroad figures for example, with the intention of enlarging them to many times their original size. I have adapted a vintage monorail view camera for this purpose. I have successfully made prints two thousand percent larger than the original. One of the problems encountered when photographing objects this close is keeping the entire object in focus. To solve this, I use a technique called focus stacking. I take as many as twenty exposures at slightly different focus points and use a computer program to merge the image files into one.