Artist Statement

Since I was eight years old, I have used a cam­era to quiet a world that con­tains too much visual stim­u­la­tion for my rac­ing brain. The lens gives me a dis­tance from my envi­ron­ment, and acts as a fil­ter to slow the intake of infor­ma­tion so that I can cap­ture what is before me. Once back in my stu­dio, I am afforded the quiet space to con­sider the col­lected images, the silence that allows the dia­logue to take shape.


I dis­cov­ered an affin­ity for the sen­si­bil­ity and aes­thetic of the 19th cen­tury pho­tog­ra­phers through my third grade pin­hole cam­era and sci­ence fair exper­i­ments. With that con­tin­ued inspi­ra­tion I com­bine the mate­ri­al­ity and opti­cal qual­ity of his­toric pho­to­graphic process with con­tem­po­rary mate­ri­als and tech­nol­ogy, cre­at­ing quiet images of “in-between” spaces. I pho­to­graph islands of soli­tude, places with more mem­o­ries and day­dreams than fire­works, moments where we must be mind­ful to appre­ci­ate the sub­tle beauty that resides there.


Dur­ing photography’s pro­gres­sion from the enlarger to the com­puter, I rec­og­nized the impor­tance of my tac­tile con­nec­tion to the images, the med­i­ta­tion of work­ing phys­i­cally in con­cert with the mate­ri­als. It is in this process that I trans­form from observer to par­tic­i­pant, show­ing the work of my hand to insert myself into the scene. Draw­ing inspi­ra­tion from those ear­li­est photographer/scientists, I cre­ated mod­ern ways to explore the pho­to­graph as object, com­bin­ing old and new to make works that have the arti­facts found in the his­toric processes. Anachro­nis­ti­cally, each piece that I cre­ate is sin­gu­lar; the mate­r­ial, hand­work, and image com­bine to form an orig­i­nal object, one that lives out­side the world of reproduction.