Drawing on, and critical of, conventions in Western landscape photography, my large-format analogue work is concerned primarily with the nature of time and reconciling the experience of a postwilderness with what was heretofore considered sublime. I use the medium's inherent dialectic of documentary evidence and pictorialism to suggest a moment indécisif between photography and painting or science and story. Rather than reflecting a landscape at a static ‘moment in time,’ my work posits a place that exists only as change; a locus that is and is not there: an environmental and existential continuum. My experimental, documentary, and narrative films engage similar themes of environmental alienation and time and its relation to change.