Many of my photographs examine the broken and battered relics of the South and the enduring grace of the people who live here; while others focus on the traditions we hold dear and facades we construct. I’ve always sought for my images to embrace obsolescence and find the beauty in it; to look to the small overlooked details that combine in the landscape to create beautiful design; and convey the sense of place that these disparate things create. One of my great struggles as an artist is to successfully capture the landscape I live in. It is easiest to miss the beauty and depth of what you see the most, and I struggled with the challenge of finding aesthetic worth in the part of the country I call home, soaked as it was with personal meaning and symbols. I remember the first time I looked through a collection of Lee Friedlander’s images, and how impressed I was by his compositions – his ability to take what was there and create a wonderful image. This philosophy of composition built on ideas I had already been exposed to by other photographic greats like Walker Evans, whose Southern images form a context for all photographs of the South since. It took me maturing as a person and an artist to begin to see a portion of what they see, and to find it in my own back yard.