Artist Statement

Valuing experiences and memories is a driving force in my life and work. An antidote to consumption for comfort and  numbing agents for the banal, I make photographs in and out of urban and natural settings to see wonder, mystery, the comical, and the tragic, in the cycles and elements of day-to-day life.

Though different from each other, I consider photographs and memories to be, singly or in alchemy, fragments of reality and waking dreams. Making a photograph is to render the act of noticing, select the details shaping the experience, then translate them into a likeness that acts as an alternate or surrogate for memory.

Formally, I work primarily with a medium format camera, using found light, and a highly intuitive working method. The process resembles that of a traditional diaristic style of photography, combined with an outward, contemporary, considered perspective. My work does not attempt to provide a specific narrative or commentary; rather, it invites viewers to engage with renderings of memory and their own associations in an intimate, meaningful way, encouraging them in the process to reflect on their own habits of noticing.



Leisure World

( 2016 - 2018)

In moments of life when we are supposed to have the greatest amount of freedom, do we actually make choices that foster a sense of belonging and connection?

Through the allegory of people at leisure with nature – one of human kind’s most intimate and symbiotic relationships – these photographs are the outcome of looking at the character and complexities of our actions while spending non-working time in the company of nature.

I look for settings that offer a natural stage and remain far back enough to feature the setting and the figures that are intended to represent "us" rather than individuals. I deliberately avoid faces or mask them out in the processing stage.

The photographs encourage the viewer to experience the repose of the settings, and in turn, examine the character of our behaviours in the spaces we seek out to spend our leisure time.



The Print Object

( 2014)

The Print Object is an outcome from asking the question: how might a photographic object look if it reflected the materials of the relatively new photographic medium, digital photography?

Finding inspiration from the work of Wallace Berman and Robert Heinecken, these print objects are one proposed form where the visual equivalent for the intangible material of digital photography - the hexadecimal text found within an image’s jpeg file - is physically layered over the image in a translucent physical material (acrylic ink and gloss) to live and interact with the imagery.

The final object is a unique digital chromogenic and acrylic ink print (24 x 36", 61 x 91 cm) presented for you to consider along side with the contrast and tension between the natural settings and the presence/mark of humankind.