STATEMENT OF WORK

I create works using traditional photographic techniques, not to depict a fixed moment but to represent undefined transitional states. The subject matter that I photograph depicts objects and locations that hold multiple meanings as photographic analogies. My recent works are photographs taken of the facades of buildings which house some of the most powerful companies in the world. The images are printed at a Walgreens photo lab, and assembled together onto sculptural forms made with book cover fabrication techniques and materials. 

I am simultaneously making work using a 4x5 view camera to photograph constructed still lives and print each negative in a traditional black-and-white darkroom. I experiment by incorporating photograms into the images, printing the negatives in reverse and varying the chemistry. All of my darkroom experiments, work prints, and test strips are used to construct larger compositions—a combination of multiple moments.

To further transform the images, I burnish traditional photo oil pigments into the printed surfaces, imbuing them with an invented aura of color, and distancing them from referential reality. In my most recent works, the resulting photographs depict abstracted liminal spaces made of plexiglass and folded mesh fabric, where change (coins) and keys remain recognizable subjects. Change evokes transformation and impermanence, while keys signify thresholds of access and understanding within this space.

In Octavia Butler’s The Parable of the Sower, the phrase “God is change” serves as a mantra to cope with uncertainty. The homonym "change" connects the plural coins and this concept. Currency symbolizes sovereignty and power, while holding value dependent on collective faith. We wish on coins, giving them our hopes and dreams. Drawing on these associations, I aim for viewers to approach my works as a space for subjective interpretation; to hang their own meaning onto these clues left in a vacuum