My projects are visual diaries in which I waver between observation and response. I collect things from my immediate surroundings that may be inconsequential but also feel too important to throw away. These collections determine the material boundaries of a series, whether scraps of paper and old drawings, acorns and rocks, waves on water, shadows on the ground. As the collections accumulate, I use line to create diagrams of possible orders and linkages among them – a combination of what was being observed and the overlay of my own imposed order. I have tracked subway rides as lines of ink on paper, acorns falling from a tree as voids on a painted canvas, sleep patterns as a photographic date keeper. Sometimes I find the work most powerful when my hand is mostly withdrawn, leaving the purity of observation and exploiting the voyeuristic nature of analysis. In every case, though, there remains a tension between accident and system, beauty and the grotesque, invasion and privacy, obsession and observation.