Drawing and photography are central to my practice. Both make pressing - if sometimes fictitious - claims to the capture of lost moments.


How does one represent the world, in all its three dimensional plenitude, on a two dimensional surface? When Picasso split a woman’s face in several parts and showed us each segment from a different point of view, he was addressing this question.  In the art of representation, this is a core problem, one that is always implicit in those artefacts that we call pictures. Read on.

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