"For me, photography is not just a method of recording the world, but a tool for examining and revealing its mysteries."
Since the 1980s, Haber Fifield's work has explored the visual, psychological and formal possibilities in creating composite pictures, whether it is the layering of images in the analog process of multiple exposure in-camera or by challenging logic and blowing apart the traditional expectation of ordered images on a wall. In her monograph After the Threshold (Kehrer, 2013), Haber Fifield portrays a world of fractured ties between images made whole through the lyrical free-associative visual reasoning of a seasoned artist well schooled in the effects of collage. The photographs convey a preset pictorial structure of either three or four images printed on a single sheet of paper. In the book, noted photography writer Vicki Goldberg says, "Sandi Haber Fifield's photographs float on the colors of memory, mood, feeling, and suggestion. They combine the indistinctness of memory with the imperfections of photography to produce elusive, incomplete reconstructions of times, events, and sentiments at the far reaches of perception."