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.