You’ll notice references to the home—carpet, the wall paper on the third floor, and Smudge. These visuals, however, are contorted and disjointed, using both tactile and flat objects to simultaneously invite and close off the domestic space from the viewer. In some cases, the photos operate as evidence for a kind of crime scene where the remnants of human presence are highlighted by high-contrast flash. In others, foggy silhouettes of people are quietly reflected in miniature mirrors. Human presence, or the lack thereof, plays a role in the photos and suggests the connotations of the daily objects we use and leave behind. These objects operate as extensions of the self and ways that we categorize and identify a scene and its inhabitants. Additionally, they reflect the act of observation back on the photo’s viewer; some shots place the viewer in a peering gesture, and some feel like the viewer is using a flashlight to see the scene in detail. Miniature objects are situated next to full-scale objects, which trivializes domesticity and adds an aspect of play or make-believe into the documentary nature of photography. All together, these themes flux back and forth in constant tension. The recognizable becomes altered, and the comfort becomes critical.