They all start with photographs I make, mostly in cemeteries. A lot of folks are photographing those statues, but I doubt they're thinking about who those women were (it's mostly women: men were commemmorated as staunch workers or proud owners of mustachios, not allowed much emotion), as people, in history, and the implications of what sort of societies they lived in and how they managed to live in those societies.
A lot of statuary was made to be "ideal" as in not depicting any particular person; look for the nose that starts in the forehead, and the blank, nearly glazed, expression. I'm looking for the actual people.
People don't change much. These women were subject to all the same emotions as we are in the 21st century.
Oh yes. Starting with making photographs, which can involve lying on the ground, climbing nearby trees, odd and sometimes excruciating angles at which to hold a camera; sometimes holding it far overhead, unable to see what I'm getting. I often delete (it's a digital camera, a nice Nikon) most of the images on the spot, and count it work well done if I get five to ten I might use.
Then, later, at high resolution, adding color, certainly, but more importantly luminosity, shadow, shade and tint: most of the artists whose work I think about were painters. Might seem odd, but Caravaggio used the camera obscura all the time to get his foreshortened figures right, and pretty much pasted them together to make scenes, as I do. To continue with this one example, you'll notice in some of his works that the figures don't really quite match spatially, but come very close. I love that staggering, nearly perfect approach that reminds us that we're looking at a painting.
You're looking at the work of a master printmaker (which means I have a Master's in Fine Arts, 1989). My wrists were ruined after years of screenprinting, so I went digital. That also means I've dispensed with darkrooms, which I built many times and used a LOT. In addition to thousands of digital images, I keep 40 years' worth of black and white photographic negatives as an additional trove of imagery to include in the present work.
So, it starts as a sculpture in a cemetery, park or sometimes museum, and goes through a photographic developmental stage, and after a lot of digital painting, becomes an archival pigment print crafted to last for centuries.