My work with newspapers grew from an ongoing curiosity about
how we experience the passage of events in time.
It was through
this concern that I was first drawn to the newspaper's temporary nature and
social function as a carrier of world events.
In this body of
work, I physically manipulated newspapers as a source to address
temporal issues.
The activity of cutting through the surface of
the paper to remove all text and images became a type of extended
dialogue, a form of non-verbal communication.
There was this
disruption of a narrative experience that compelled me both in
the process and the results.
Each seemed to satisfy a deeply felt
yearning for momentary stillness.
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