Botanicals - 1999 In a way, this is the materials I had collected for the watches being walked into the darkroom--I am placing small objects that pass light up on the negative plane of the enlarger and also contacting them actual size on the easel plane. The result is a multi-layered rayogram / collage printed onto film, and shown as light boxes in a dark room. I wanted it to look like you were looking into a microscope at a tiny world.		Hands - 1997 This series is really alchemical--I have no idea why this works ! I took very old photo paper and poured developer over it in a tray in the dark, then poured the developer off, and stood the tray in a corner in the darkroom while I did other work. I would do this a few times over several hours, then at some point I would place my hand on the paper, and either the heat or the hand oils would activate the developer and leave a hand print. I think they look like aural photography, or like the hands that American Indians left on walls in the desert.
	Murals - 1991,1993 The first mural was the one of multiple images of me jumping, which was made on the xerox machine (at Magnum Photos, where I was working) by enlarging and reducing an actual photo, and collaging the xeroxes. The second one was made from a negative of me and a positive of flames, dropped into slide projectors and printed on mural paper (the final image is about 6 by 8 feet). The reason I look like a monster is because I had put glow paint on my face and upper body,then charged myself up under the lights and shut the lights off--so I am the light source and the eyes and mouth are black where there was no paint.		Circles - 1996 These are done by swirling the thongs in the developer over a piece of photo paper that has been exposed to light (but no negative). I think they look like charcoal drawings--like planets or meiosis-mitosis, or in a line they remind me of bubbles, rising and falling.