Photography’s power for most of us is that it is a personal ritual…what matters is that a photograph exists, not its exhibition nor its worldwide availability. However, the personally experienced power of photography continues to be challenged by the gallery and the internet, which want exhibition, commodity, and distribution. Despite having been educated to the gallery and museum, I can’t seem to escape the personal in photography.  These pieces build new context for photographs I have already made or sometimes plucked from family history. I work by combining personal history with cultural memory and challenge traditional assumptions about photographic form. Each piece realizes a unique answer to Where am I? What is this? How is it things happened the way they did? The work is montage, presenting photographs as collaged, physical objects with notes and text, like a bulletin board. The pairings yield multiple narratives, but the narratives are not open ended. The text does not illustrate the images, or vice-versa, but each are forced to relate to the other. The typography is sometimes simple storytelling, other times excerpts from a more detailed passage, and the multiple voices....image and word, all work with or sometimes against each other. The work hopes for a more truthful kind of photographic realism than we are used to. Trying to put things right seems to require the possibility of multiple voices, or polyphony, and multiple telling’s...each piece is an anthology.