The films that I create stem from my fascination with the moving image. Like a child looking through a Fisher Price Movie Viewer, I observe the world as images to travel through. Forward and backward the film slides in front of the gate. Light is the life of the celluloid, and I enable it to live. I am obsessed with the cinematic image and savor slow, subtle, meticulous motions. I thrive on the new sense of space - gardens, basements, dining rooms, and museums. I need to exist somewhere, anywhere, at anytime. Often a new somewhere is created by blending symbols of the past with markers of the present. My interest lies in this time linkage to examine both private and public oral histories and their impact on the current generation.

My process consists of observing a subject or atmosphere from which I generate a screenplay and shot list. Here my visions fuse with the existing historic material to create a relationship between me and the real places. Collaboration is fuel, and working with a crew is where I find my creative energy. My tools consist of 16mm and 35mm motion picture cameras without synchronized sound. In the mode of a silent filmmaker, the visuals are paramount to my process. Significantly, the film camera allows me to work closely with the moving image and the textures I photograph. Using film rather than a digital sensor, I am able to directly see the textures through a sharp lens rather than on a liquid crystal display. This enables me to acutely perceive the treasures of the subject, whether it would be basil in my grandmother’s garden or relics in the Edgar Allan Poe Museum.

Currently my film, Darkness There, a motion picture inspired by the life and work of Poe, uses a similar blending of my fictions and spaces. The film investigates Edgar Allan Poe’s dark romanticism through my perception of his stories and museum artifacts. I continue to use traditional film techniques to bring forth a feeling of nostalgia, a transcendence of time, and a sense of the familiar.