Artist's Statement

      To ensure the relevance of analog photography, there need to be artists that bridge the gap to the digital future. I explore and contribute to the evolution of that intersection by splitting my efforts between analog and digitally native media while attempting to cloud the distinction between the two. Due to the cybernated trajectory of the here and now, I often extend my analog processes to incorporate digital workflows such as animation, color, or audio engineering as an interpretation of contemporary pictorialism. I welcome evidence of my hand into my works; I see gator clip impressions, emulsion brush strokes, and filed negative plate carriers as imperfections to cherish. The previsualized endstate of a digital file makes my work fit in with the NFT community where my photography must compete against “meme-lords”, 3D modelers and even artificial intelligence for space in the metaverse’s fine art market.

      My current work is focused on figurative storytelling with themes of nostalgia, morality, and the human-nature experience. It is often in conversation -- through content, concept, or aesthetic -- with artists from throughout history. I assume the perspective of Philippe Halsman trying to capture a jump pose (Well…Do ya, punk?, 2021) and analyze light quality as if I were a 16th century Dutch still life painter (A Day in an Open Cabinet, 2021). I protest, philosophize, and shape the counterculture with the Beatniks (Listening and Supporting, 2020). I act out Yoko Ono or Erwin Wurm’s performance prompts and even draft my own (Fashion is Self-Care, 2022 and Precarious, 2022). The hearty consumption of diverse art is the cornerstone of my creative process – a playful curiosity is the foundation.