My recent work, Residual Evidence: The Body Archive, began as an inquiry into the practices and aesthetics of historical criminal photography and associated assumptions of the photograph as a document of the moment, or a representation of truth.  What Walter Benjamin describes as evidence of an occurrence.  Technological innovation in contemporary forensic methodologies, position the body as the central locale for the collection of residual trace evidence.  As a culture we are spellbound by the potential implications found in skin cells, dna strands, and microscopic fibers, as evidenced by the multitude of television series dedicated solely to the reporting and dramatization of criminal investigations. 

I explore the body as a site of trauma and experience, and the body as both repository and author of information.  In an attempt to develop a document without bias and point of view, I place photographic emulsion, sans camera, on the surface of my body to record my actions.  The images are created over time: minutes, hours.  The resulting photographs are the striking visual residue of my experience: traces of body fluid, clothing, skin prints, and the fine edges of body hair are evidence of my occurrence.  I live in a body.  And my body is an archive, my skin the surface through which I experience the world.
I collect the information and create a visual archive.