My abstract photography is a departure from my years as a photojournalist. As a staff photographer for the Los Angeles Times and the Associated Press, I used my camera as a tool to document reality — to clearly record what I saw with my eyes. In that world, altering or distorting what was in front of the camera was taboo. The photograph was expected to bear witness to reality.

My relationship with the camera is evolving. In my abstract technique, I use a collection of found glass as auxiliary lenses, purposefully distorting what I see. The photograph becomes a document not only of what is in front of me, but of a moment created somewhere between the subject, the glass, the camera, and my eyes. The slightest movement can dramatically alter the image, making each photograph impossible to fully anticipate or repeat.

This process transforms photography from an act of recording into an act of discovery. Light bends, colors shift, forms dissolve, and familiar subjects become something
less defined and more mysterious. Each image captures a fleeting moment of color, pattern, shape, and texture.

My work invites viewers to look beyond the ordinary and reconsider what they think they recognize. I am interested in that moment of transformation, when the familiar becomes unfamiliar and the boundaries between observation and imagination begin to blur. Through abstraction, I seek to reveal a different kind of truth: one found not in accurately describing the world, but in experiencing it anew.