Through this body of work I sought to collect or curate an alternate world of light, reimagined as chemical reaction on substrate. My chosen subjects are light sources of various types (incandescent, fluorescent, clear, frosted). I employ a basic, often binarized vocabulary: lens-based and pinhole (lensless) cameras, unified and fractured image fields, positives and negatives. These elements combine with variable exposure lengths to determine a set of possible images from which the show has been drawn.

Light Leaks is an analog photographic project that treats the mechanisms underlying vision, representation, and the photographic image as ends in themselves. The work is comprised of portraits of light and light sources—medium and substrate, respectively—and is presented on paper—image on substrate. In this way, the sources of light share a structural resemblance with their photographic counterparts. The work emphasizes a formal, minimal approach to image making. The portraits are stark and essential, with subjects situated in indeterminate, unspecified space. The images turn inward, depicting that which makes them possible.

The groups of smaller individual images result from the exposure of 4" by 5" photo paper directly inside the camera (lensless pinhole or traditional 4x5). This approach removes the typically intermediate medium of celluloid film. The resulting images are unique monoprints. Because it is designed to be used under a direct light source in a photographic enlarger, paper "sees" in a very different way than film. Light-emitting objects are isolated. This contributes to the formal quality of the images, which are presented as negatives because they result from a single iteration of the analog photographic process of value reversal.

The larger pieces (16" by 40" diptychs) are produced by contact printing these paper negatives. The fractured space of the negative images is replaced with a singular field of black.