Smoke-like, ethereal, images of lovers’ trysts play perpetually in a sort of film of stills, rolling inside my mind. I previsualize all that I shoot. Glances and glimpses, moments of coming together or being left, are seen as if in a dream—their meaning never quite gelling. Like waking up and having the imagery slip away—yet leave you with a strong overall impression that marks you—a knowing.

I use a Muybridge-esque format to record their movements. The images that come to me are specific. I stage them and shoot them as close as possible to what I have been sent, using people I find on the street. I like putting strangers together in an intimate situation. It adds an interesting tension. There are many aspects of a scene shown. The pace created is essential, varying from a steady pulse beat to a rapidly pounding heart. Each moment is frozen, heightened, charging the atmosphere with anticipation, erotic expectancy, or the yearning sigh of amorous absence.

Locked inside the peculiarly intense psychology of lovers’ states of mind, most often the story is told twice, from differing perspectives (e.g.), as she saw it—and then once again as her lover did. The two versions differ. Memories are not precise, and dreams are obscure. Lies are told. And yet they also intersect—as within the Divine Feminine and Masculine. The pieces are filled with dualism. There is a constant fluidity, a flowing back and forth between male and female. The interplay between pictures—the way shapes mirror each other, one frame to another, one sequence to another, and the way the abstractions reflect the threads of the narrative provided—all are of equal weight to any elements of a suggested storyline. You can be seduced by the formal beauty of my images. (I hope you will be). The sensual shapes and abstract forms of the compositions are my first love. I use their beauty to lure my viewer like a flower lures a bee. Capturing them with an incantation that allows them to leave behind the everyday and slip into a reverie. I want to transport them, but in such a way that they are conspirators. Their participation is absolutely required for the realization of the work. Your vision is restricted to the camera’s viewpoint. The space between the photographs is as significant as the pictures. This is what the viewer brings to my work. The movement between my images takes place inside their minds. They make the jump cuts. It becomes a collaboration—and we hum. A real vibration exists between us.