I’ve spent most of my life in broadcast television — live sports, studio, post — work where you get one chance and it has to be right. You also learn what to do when it isn’t. When things go sideways, you adjust and keep going. More than once what came out the other side was better than what I’d planned, a twist I didn’t see coming. That instinct is in these pieces as much as the camera is.

I shoot wherever I am — cities, desert, coastline. The subject matters, but just as important is what I see in it. I’m not out there just documenting a place; I’m looking for something I can build on. Something both there and created, shaped by color and emotion.

The photograph is the foundation. From there I transfer it by hand onto a panel and work into it: paint, pastel, texture, special effects. Where it goes is decided in the moment, at the piece.

What comes out doesn’t read like a photograph. It reads like an artifact — modern vintage. Something that’s been around a while and picked up a surface along the way.

It’s an object, not a print. You can touch it.