In 2006, I incorporated digital imaging into my practice, reaping the slightly dizzying bounty of that technology. New possibilities for scale, colour, and nuances of manipulation were now available and from that came Faithless Grottoes. But I stayed with, as starting points, those original stills I’d made years earlier. They’d become like totems, permeated with some intimate magic I felt bound to.... Through it all, the human figure remained the uncontested reference point. To this day there's nothing so devastatingly expressive for me as the human face and body, no visual element—in all its iterations and transformations—more capable of shearing open the human heart. Of course, there were other elements injected into these tableaux—surface detailing, the melding of foreground with background and subject, the bending of form and colouration—and these elements acted as both supporting agents and accelerants. But the core setting for this work remained the same: those dark cathedrals of inner life, architectures mapped out by patience, desperation, and delirium.
—Frank Rodick, in his essay on Faithless Grottoes as well as the earlier Arena works.

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