The disembodied head emerged in my imagery near the end of the nineteen eighties as metaphor for an obsessively craniocentric age. This decade was driven by a turbulent, if not insatiable compulsion to perpetually re-establish the cutting edge of art-making. As a result I grew more and more aware of a deeply rooted absence which I attributed to a disconnection with the experience of the world.   I wanted to find a way to remain provocative and experimental while placing the conceptual, formal aesthetic advancement of the visual language subordinate to an expression of vision.

Inspired by Swift's Grand Academy of Lagado from Gulliver's Travels, I began a series of black and white, frontal views of human specimens in a laboratory setting with a single, ubiquitous head against a dark grid. Since that time I have built progressively forward to the full human figure in an ever widening subterranean mirror-world in which truths are meaty, steadfast and visible and in which surface deceptions are completely unintelligible.