The Constructs series are beautifully nostalgic. Dark, somber and haunting, they depict a variety of “Homelands” (that most nostalgic of places). These Homelands, however, belong in the historical past rather than any specific geographical location. They belong to — are very much part of — a pre-Modern world, a world which no longer exists. These pictures are postcards from the past, each one self-consciously a construct, a fictional picture of another place in time.

And if these Homelands seem already familiar, it is because we have encountered them before, in films, on TV, in commercials. They live in the collective conscious rather than individual memory, places of reverie, nostalgia and Romance. Softly focused, allusive and dream-like, these pictures revel in their Romanticism. They make no attempt to return the cultures they depict to the realm of the real. Instead, they celebrate the necessity of nostalgia and its pivotal place in the realm of the poetic.