I print fabric with photograms of paintings that I make on glass. Exposing the painted image onto fabric introduces new layers of both control and chaos to the image-making process. By filtering the painted image through layers of natural variables, I aim to rid the image of evidence of application, to transcend my own initial intention and vision, and create photographs of my subconscious to which the viewer can apply their own understanding. The resulting works are tactile impressions of the interaction of light, shadow, heat, wetness, movement, the original painting, and time.