To create this series, I took found objects--some gathered from the side of the road--and brought them into a studio setting. Once in the studio, I did all but tell the objects to smile and say cheese. I positioned them on the stand as if they were people who had paid to have their portraits taken. People who wished only to reveal their "good side," which of course, cannot be recognized as such without the help of tacky props and selective editing. In hindsight, I realize that these images may say more about the artifice and transience of the studio than the concrete-ness of the objects placed within it. They reveal the studio as a kind of twilight-zone, a context-less void, divorced from an objective reality. The studio portrait documents this void as well as its inhabitants and the photographer directs attention by default. A still image offers one perspective and two options: take it or leave it.