As a young artist I was fascinated by the seminal late 19th century explorations of movement made by Eadweard Muybridge, which are both landmarks in photography and an important precursor to cinema. My photographic series, ‘70s Sequences, was an early manifestation of my interest in mapping time and movement. Later, as I moved into moving image production working with 24 frames per second, it was natural to think of the incremental frames as an archive that could be explored and mined. Each film generated an abundance of stills, some of which suggested sequences. While these bore a relationship to my earlier impulse related to still photography, the film sequences became a more expansive way of playing with segments of time. My early experience in generating film stills, in turn, influenced the content of later films in which I have employed split screens to construct grids of juxtaposed time segments within the films themselves.