Small Hiccup has been shown in two formats/venues, both emphasizing the physicality of the photographic paper. It consists of 120 feet of roll paper chemigrams sewn together with a sewing machine, which are specifically sculpted with adhesives to curve and lay in intentional ways. The piece was made early into my chemigram explorations, and represent these experiments with various types of mark-making. The emphasis in this piece has always been more about the forms I create with the paper, and their symbolism. I think of the piece as representing a timeline: the highs and lows we experience in life, the periods of ease that are marred by states of chaos and confusion, which eventually plane out again. I am interested in how the “secret language” of the gestures may attempt to contribute to the conversation of the symbolic scenario as the piece is laid out, although that is an element I prefer to let go control of. I am more concerned with the treatment of the paper as a sculptural material, to make the viewer question the definition of photography.