Using materials such as paint, charcoal, and tape, and working directly on surfaces of architecture, furniture, and household objects, I reshape domestic environments for the fixed view of the camera lens. Marks are positioned to blur the foreground with the background, creating a sense that the final photograph has been painted over, when in fact it is the space itself that has been manipulated. Upon close inspection of each print, brush strokes and tape seams reveal themselves, and the tactile process that goes into collapsing pictorial space is exposed. These photographs are not intended to trick so much as slow down the viewing process. They encourage viewers to linger over handmade imperfections and engage in a way of seeing that is antithetical to the everyday consumption of digital photography.