For the past decade I have engaged in a photographic practice examining primarily the nature of photography, the passage of time, and the psychological dimensions of viewing. My work is made predominantly with the wet plate collodion process, the results being ambrotypes and tintypes: one-off positives on glass or metal. It’s a process that dates back to the dawn of photography, invented in the mid-19th century – a time ruled by science and reason. It was also the time of mesmerism and the dearly departed knocking on tables. This dichotomy is at the centre of my work – the space between the empirical and the incorporeal. The images on metal and glass, photographic results of constructed tableaux, live as documents of the period in-between events: the before and the after, the “non-decisive moment”, and the lull between breaths when everything stops and reverses.