A few years ago my practice went through an important change as, rather than referencing the images of others, I began working from my own photographs. Friends became models and accepted various physical indignities to indulge my story-making impulses. Rich and unexpected things came out of these sessions with the photographs becoming an important part of my work process.
This process matured with the involvement of my wife, Trude. I wanted to dress the models in liminal garments suggesting archaic themes, she responded by making a bonnet of twigs, a corset of cow ribs, a crown of bark, and on fully grasping my intentions she added so much more.
I now see the photographs as works in their own right as, although technically different, thematically they are a continuation of my visual obsessions.