The camera is "point of view" incarnate. The event of the camera registering an image inside its own mechanism replicates the human idea of what it is to see: The light of the "outside" world enters through a small aperture and is registered on a light-sensitive material. Thus, both the camera and the human being are mechanisms for registering reality from a particular "point of view" in space-time. The camera, like the human being, is a "point-of-view machine". Thus, the process of making photographs reflects the nature of the human event, of human experiencing.

The human individual in the midst of reality is like a camera in a room, perceiving everything from a fixed "point of view". But what does the room really look like? The room can be viewed from every possible "point of view" in space-time, not merely from any particular "point of view", or even a finite collection of "points of view". Therefore, no "point of view" can reveal the room, or reality itself, because every "point of view" is limited and essentially self-referring.

Reality itself always already exists. Reality itself is what exists prior to "point of view", before any individual "point of view" constructs its version of presumed "reality".

"Point of view" is the essence of ego-life: The apparently individual being presumes that he or she is a particularized "point", or organized "point of view", in space-time. And that "point" is "made" by contracting from the condition of totality and, indeed, by contracting from even every mode, form, or state of conditional existence. Therefore, the camera is a precise mechanical equivalent of the ego, because it, too, functions as fixed "point of view".

In my use of the camera, I work to make images that go beyond, and even undermine, the conventions of "point of view". Such images transcend the limitation that would seem to be inherent in the photographic mechanism (or "point-of-view machine"). They allow the viewer to see and feel the "room", or the world, or reality, as it is, beyond the ego's self-reference. And such images thereby become a non-verbal means of "picturing" the essential human process of ego-transcendence, going beyond the fixed "point of view" of the ego, or the core presumption of separateness.

The living body-mind inherently wants to realize the matrix of life, wants to allow the light into the "room". Making it possible for human beings to fulfill that impulse is what I work to do. My images are created to be a means of participating in reality as fundamental light, the world as light, relationship as light, conditional light as absolute light.

The "room" is where the "focal point" of ego happens. Ultimately, when the camera is transcended, there is no longer any "room" at all, but only love-bliss-brightness limitlessly felt, in vast unpatterned joy.