Studying art history as an undergraduate, I became fascinated by the stories embedded in figurative painting and sculpture. I would see stillness and imagine motion.
Once I sketch and outline an idea, I film intuitively, inventing as visual and technological possibilities emerge. Filming is an over-planned improvisation. Editing is an orchestration that finally surfaces a thematic and conceptual framework. I find a film's unity as I edit. As I wade through footage I shoot, find or assemble, I think about how to convey a concept or compose a narrative with gesture, with a glance, a slight shift of the subject's weight - a quick jump cut or the exaggeration of time. I search for continuity of motion and time, then offer it to the viewer to find their own cadence and rhythms.
When I work, I hope to arrive at that place where the films are more of an offering than a possession.