Night Moves I, II and now III, light jet prints, continue to examine voyeuristic approaches to photographing first in domestic, then public, now private spaces void of the human figure. The process of shooting in this manner challenges the artist's social proprieties and sensibilities surrounding privacy in our culture.
The printing technique uses extreme contrasting blacks and whites pushed to their limits eliminating as many values as possible, intentionally. The experimentation with the dark space and balance of light are to push the idea of the tension involved with taking the photographs watching from the shadows.
In Night Moves I, small images were printed and placed in the center of a dark page similar to a port hole and were shot from a distance. The notion of fear and intrusion was emphasized by this format. Night Moves II's image grew in size still contained on a dark canvas, and still shot from a distance but seeming closer than with the smaller port hole, suggesting the artist was becoming more involved with the content's subject.And, Night Moves III departs completely from the small image and use of the port hole all together and enlarges the print scale moving torwards a more braisen exploitation. These photographs are close up more intimate photographic invasions of private spaces.