In this particular series, the positive Polaroid images were scanned, enlarged and printed onto large sheets of mylar. The forms that arise are incidental, the result of chance and choice, at times possessing elements expressive of the places they fleetingly captured or they may be entirely non-referential, evoking anatomies and metaphysical topographies. Suspended inches away from the wall, the mylar prints interact with their environment through their responsiveness to air disturbances, and cast shadows of their photographic images onto the wall, carrying them into the third dimension while also creating an after-image effect. The viewer is compelled to toggle between the stability and instability of the photographic image and its positive and negative spaces, never quite finding a resolution. The photos belong less to a vision of external reality than they are an investigation of that reality and the essence of a totality of spatiotemporal experiences, and the memories of which created inform our relationship to the places we inhabit.