The work forTRESPASSERS emerges from an interest in miniatures and as an extension of experience with optical devices---cameras and viewers of all kinds---from the 19th century through to the present.  These images are from installations that feature micro-miniature articulated puppets or “bone dolls," most of which have been fashioned from the remains of the same small animal discovered on a walk.  Each of the puppets features a micro tattoo which classifies them as a “TRESPASSER,” a marker of identity tied to an implied narrative related to the daily explorations. They have materialized as animated characters drawn out of books, like Ben Marcus's The Age of Wire and String, paintings, such as Giovanni Segantini's The Evil Mothers, or the Serbo-Croatian Romani film, Time of the Gypsies. These figures are also influenced by magical miniatures (Tupilaq bone carvings from Greenland, the tiny Sirtya effigies made by the Nenets of Siberia, and Nkisi sculptures from Africa) and are not unlike 17th Century ivory medical miniatures.  With permission from Ben Marcus, the “Air Trance” installation includes a passage from The Age of Wire and String. The writing is presented as a kind of ghost text that is only readable as a shadow. It communicates an almost post-apocalyptic use of language that corresponds to the reconfiguration of the effigies as a representation of meaning over function.