Society is a concept with many definitions. It might be considered a community with a common set of laws and beliefs. While some societies are homogeneous, there are societies whose fabric holds in its embrace differing views and behaviors, but not always easily. The act, or expression, of “throwing bones” is a term that implies connectivity. It may be a term rooted in throwing bones to dogs to bring them closer into human connectivity; in some cultures it is a practice to tell the future. Today, it may be an expression for drawing attention to one’s self or the act of reaching out to another for inclusion. My series “Throwing Bones” is about inclusion, belonging and acceptance; not predicting the future. Visual images are my bones. I look for a certain place at a certain time to collect as much visual information as I can, take it home, and interpret it. The visualization of motion, in part, is an individual’s self-perception about him/herself: connection with others, fears and navigating social norms and laws. It’s about being an engaged person (but, sometimes feeling like an island) building and maintaining relationships. There is anxiety in the blurred motion, and an anthropomorphism, the reflection of human traits and emotion, embedded in the use of inanimate objects. I use different techniques to illustrate the fear that one’s reality and accomplishments are not real; the risk of discovery as a fraud. Society is not static; it keeps changing. We resist change and become as immovable as a fire hydrant: hardened and set in place. For me, “Throwing Bones” is a part of a body of work dealing with urban life. The prior series is “Time-Slip Street Portraits”. These photographs are each a visual expression of the challenges and fears in all of us as we work to feel our place within our society.