Alfred Hitchcock is my favorite film director. I have seen all his movies, some, multiple times. I admire the ferocious visual intelligence imbedded in any story he tells. The ways his camera focuses and treats particular objects and interiors in his films carry much of the signature psychological tension of his movies. In some ways it is the camera alone that makes a Hitchcock film. It is possible to look at many of his films with the sound turned off and still derive optical pleasures from them. As a photographer, looking at his stills is enormously rewarding and deeply mysterious.

In my last project, Flowers for Lisa, I ended the series with a picture of a nosegay, similar to the one that Kim Novak buys in Vertigo. This nod to one of Hitchcock’s film made me think that I could start making a series of pictures that respond to certain still imagery from his films. In the case of my nosegay picture I was pretty faithful to the frame in Vertigo where it appears. In other pictures of this project I see myself creating and collapsing images that only obliquely refers to the original but still keep a sense of his original vision.

In these photographs I hope to invent a series of new images, inspired and influenced by Hitchcock, but that have something of me in them too.