My early exposure to photography and painting was integrated into a religious, homeschooled classical education in which art was taken seriously and beauty treated as something real. That formation insisted on objectivity, but grounded it in doctrine, authority, and justification. I no longer work within that framework, but what has remained is the intuition that objectivity exists. My disposition is no longer toward foundationalism, but an engagement with problems through fallible attempts that can be tested, revised, or abandoned.

I draw from philosophy, aesthetics, and the sciences, not as systems to illustrate, but as parallel efforts to grasp how understanding itself advances without certainty. Each image functions as a provisional resolution to a visual question, shaped by constraint and open to failure.

If the work succeeds, it does so not by asserting a thesis, but by instantiating its decisions visually. Form, presence, and attention are placed in a relation that can be seen, judged, and, if necessary, rejected. The aim is not to claim finality, but to resolve the problem well enough that more demanding ones follow.