The Approach: This installation is an archive of twenty-five years of foreign assignment work in Haiti, Thailand, Bangladesh, and Argentina. In a deviation from tradition, I decided to experiment with a more sculptural approach. Large unframed engineer prints are fastened onto painted wooden flats with paste, tape and staples. Image titles are scratched on with chalk, and  indelible marker -graffiti tags and dates. Within these images, hands are strained. The subjects reach for connection and stability -much like the glue that grounds the prints. In creating this eight foot tall and sixteen foot wide piece, my own hands were part of the process -tearing, taping, massaging, coaxing, and at times, bleeding. Mine mirroring  the actions of the photographs. The pasted prints are imperfect: bubbling, torn, tagged with graffiti and household repairs. These markings are signs of change and decay -reminders that life and art are shaped by physical contact and transformation. Each piece is held together by what's most basic -hands and glue- echoing the direct truth captured in each decisive moment.