I search for the alternative, unwritten visual language books contain. Only through my process can I reveal this new language. It becomes my history, my language, and my interpretation of the book. My process is reductive. Nothing is added, rearranged, or changed. I only remove unwanted, undesirable sections from each page of the book I feel will not work in my overall composition. My technique involves elements of chance and my reactions to revealed imagery. For each selected segment I consider placement, color, and content. The saved section must connect to an edge of the cut frame which is connected to the books binding since I do not seal my books shut. I do not seal my books because it is important to me to preserve the original function and structure of the book. My transformation adds new life to the object, but at the root of each work a book still exists. I emphasize what it contains. The revealed sections of my finished pieces are a glimpse or synopsis of imagery within the source. I have a basic composition in mind at the beginning of each book, but also need to be flexible and adapt according to the content uncovered within the book. Each saved section affects the next image revealed, therefore every cut and decision is based on the previously saved content. By excavating these used books I reveal an alternate visual language. I show that a book is more than a container that houses written and visual information.