My interest in authenticity and materiality lead me to begin printing on canvas in 1998. At the time, I was working in a digital studio using a Leaf DCB II camera back. Because the digital file lacked tangible material and there was nothing to hold onto or anything that would drop to the ground, it inspired me to find a way to make palpable, tangible photo-objects. I found myself at odds with what attracted me to photography and what the medium was morphing into. With the advent of digital technology, the photographic image and the medium were transforming even further than the difference between a Daguerreotype and a silver gelatin print. I began with a standard sewing machine and later incorporated hand stitching and embroidery. The domestic act of sewing becomes an actual attack on, and healing of, the images' surface. The needle punctures each photograph as it sutures multiple moments into a singular unified representative of reality. This gesture articulates my relationship with photography as the medium splits along its technological fault lines and transforms itself in alarming and wonderful ways.