The Dysmorphologies series (1997-2001) began as an exploration of the grid, the body, and the idea of the photographic document. The photographic grid first appeared in the nineteenth century where it was employed in the collection and comparison of scientific data. As a form, the grid can communicate complex ideas through simple visual comparisons. Social Darwinist, ethnographers, criminologists, and numerous other fields of study have regularly made use of the grid. In the twentieth century, the grid reappeared in a very different context. The art historian Rosalind Krauss (and others) recognized the impact of the grid in early abstract and conceptual art, noting that artists often employed the grid to affirm the two-dimensionality of the picture plane - a visual metaphor that came to represent modernism itself.

Part archival collection, part fragmented portrait, this series considered the indexicality of the photographic image and the challenge of "absracting" the human figure in photography. Abstracted, disjointed, fractured, the images seem to insist that although a fragmented portrait may differ from a conventional one, the viewer can still perceive the body implied beneath the image's surface. In this series, tattoos, scars, wrinkles, and other dysmorphologies were isolated, explored, poked, and prodded, producing images that were described in the Los Angeles Times as "both ominous and strangely seductive."

Works from this series were included in the film: You and Me and Everyone We Know.