Valuing experiences and memories is a driving force in my life and work. An antidote to the numbing effects of routine and to-do lists, I make photographs to find wonder, mystery, poetry, in the cycles and elements of day-to-day life.
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: to choose the details that are shaping the experience and then translate them into a likeness that acts as a surrogate or alternate for the memory.
Formally, I work with a medium format camera, found light, and a highly intuitive working method. The process resembles that of a diaristic style of photography, but with the camera is directed out towards the world instead of back to oneself or a familiar set of characters. My work does not attempt to provide a specific narrative or commentary; rather, it invites viewers to engage in an intimate, meaningful way with renderings of memory and awaken their own associations.
( 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 trying to escape from the stresses and grind of day-to-day life.
The photographs encourage the viewer to experience these places of escape, and in turn, examine the character of our behaviours in the spaces we seek out to spend our leisure time.
The Print Object
The Print Object is an outcome from asking the question: how might a photographic object look if it reflected the materials of digital photography back from intangible bits of data, translated into a visual material?
Finding inspiration from the work of Wallace Berman and Robert Heinecken, these print objects are one proposed form where a 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.
As the media evolves, these layered objects are presented to invite the viewer to consider their relationship with photographic prints, along with the visual relationship between the translated digital material and the nature based imagery..