Statement

My work is about race, family, relationship, female experience, place, home, biography, and more, through a lens that is earnest, thoughtful, compassionate, critical, and understated.

Self portrait, 2018

Self portrait, 2018

 

About my work

I.

Close your eyes and consider one of your favorite photographs. It may take a moment but I am certain something comes to mind. Is it a work of art? Is it a family photograph of someone you love dearly or wish you could have known? What is your image? You surely have an emotional connection to it. Nearly every person on the planet has a relationship to photography. It has been the democratic medium since its very beginnings, and this is both a blessing and a challenge to the artist who calls herself photographer. 

II.

Some of my favorite qualities of photography is how it balances science with aesthetics, concept, intellect, and emotion. It is a process that is scientific, logical, technical, we can completely understand how it works, yet making a print or taking an image still feels like magic. It is curious and surprising while having a connection to passed moments of time. Most importantly a photograph always alludes to more than the image we see. It is exciting to not only craft the image but to weave the ideas and context beyond its edges. It is one of my goals that my artwork and practice itself has these qualities and such great multiplicity.

III.

My passion for what a photograph was, is, and can be and its colloquial uses is foundational to my practice. I begin with ideas and methods used for biography and documentary work. I discuss issues significant to identity through the revisiting and translating of memories and experiences. I utilize my own perspective as a means of exploring how intimacy can create a space for broader discussion about the narratives presented and their implications on a societal scale. Through the multitude of my practice I have been invested in the subjects of family and home, whether this be identity and relationship building in the context of the home, how we are confronted with race within family, generational loss, adoption, the importance of a safe space - i.e. home, pinning down the ambiance of home through architecture, specific objects, and landscape. Through this work I continue to engage the history of photography, the hierarchy of medium, and feminist theory and practice. 

IV.

What does it mean to document something? How can the idea of what a record is be expanded? How do I acknowledge the subjectivity of the document, memory, and history itself? These among others are questions I repeatedly investigate in my work. My images can be fiction, can be poetry, expressionist, or memoir, they do not have to be fact or nonfiction, but must acknowledge my subjectivity. 

V.

My work provokes the viewer to confront his or her self and be attuned to others with criticality, compassion, and thoughtfulness. I am deeply committed to the human experience of relating to one another via shared histories, whether this be on a personal, familial scale or broadly speaking through my own socio economic experiences.