I am drawn to working in series, not so much as photo essays but in a more 'Duane Michals' notion of multiple image sequence. The foundation being an analysis of the photograph as interruption of the timeline. There are inevitable similarities to film in so far as multiple still images when seen in contact sheet form can be interpreted as de-constructions of an event between two fixed points. But observing the static contact sheet of a Eadweard Muybridge collotype for instance, increases the level of scrutiny of each frame of the moving image otherwise observed in the original Zoopraxiscope as something, well, 'moving'. We are observing each interruption in the timeline as photographs in their own right but further it is an acknowledgement of multiple alternatives that lead up to and go beyond the nostalgic, and I would argue, dated notion of a singular and 'defining moment'.