Through the use of photographs (and sometimes objects) from the 19th and 20th century the artist draws foreign things ever closer to himself, even as he pushes the familiar farther away through techniques of visual “estrangement.” Found images are torn from their context and placed anew; the artist’s own digital images – reversed – are opened up as wide, meditative spaces far removed from daily life. This use of the negative – and in some cases negatives of the second and third generation (i.e. negatives of negatives) – focuses in on the topic of legacy while emphasizing the back-and-forth of passing time. “Families” of images that can be said to have inherited traits from their ancestors are the result.

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