My main interests are exploring the photographic form via layers. While taking a hiatus from photography, I tried my hand at (some very bad) painting.It taught me so much more about light, refraction, hues, and layering of pigment and mediums.
This inspires the current interests in abstract photo play via multiple steps in the digital physical and digital process. Its most exciting to me when the technique loses to illusion, and the viewer can truly become lost in the in the variouos depths and spectrums.
As an individual who had to do some intense person study on neurodivergance these past few years, its also a fair representation of how the mind of a neurodivergant can feel at any one particular moment.
I'm very interested in oushing the boundaries of the chemical processes to see which iterations could create something unexpected. The digital camera put a halt on the chemical process, and I like to wonder what we would have come up with had we not invented the digital censor. Here are some preliminary tests to a project in which I'm exploring the phsyical relationship between traditional inks and paint and gloss mediums, paired with cyanotype as part of the paint, with its own painterly texture via negatives which were made with inks themselves.
The Suburbs hold so many dichotomies, its been difficult to hold it all, struggling with my needs for quiet, peace, gardening, and some studio space, with the constant energy and buzz and conncetion I felt living in New York. Sometimes I miss it so dearly, and tell others 'I was never lonely, even when I was alone'. But when I really read back or ask a close one, I'm reminded that was frought with its own special types of isolation. And so, I'm drawn towards the contemplation of aloneness as its own ditochomy, curious about my own constant need to outrun lonliness, especially when often what I need is to be fully by mself.
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My main interests revolve around exploring the photographic form through layers. During a hiatus from photography, I experimented with painting—though admittedly, not very successfully. Still, it taught me a great deal about light, refraction, hues, and the layering of pigments and mediums.
This experience now fuels my fascination with abstract photographic play, using multiple steps across both digital and physical processes. I find it most exciting when technique gives way to illusion, allowing the viewer to truly lose themselves in the various depths and spectrums.
Having spent the past few years intensely studying neurodivergence, I see my work as a fair reflection of how a neurodivergent mind can feel at any given moment.
I'm also deeply interested in pushing the boundaries of chemical processes to see what unexpected results might emerge. The advent of the digital camera put a stop to many chemical methods, and I often wonder what innovations might have arisen if we hadn’t invented the digital sensor. Here are some preliminary tests for a project where I’m exploring the physical relationship between traditional inks, paint, and gloss mediums, combined with cyanotype as part of the paint itself. The painterly texture comes from negatives created with inks.
The suburbs are full of dichotomies, and it’s been challenging to reconcile my need for quiet, peace, gardening, and studio space with the constant energy and connection I felt living in New York. Sometimes I miss it deeply, and I tell others, “I was never lonely, even when I was alone.” But when I reflect or ask someone close, I’m reminded that time was also fraught with its own unique kinds of isolation. So, I find myself contemplating aloneness as its own dichotomy—curious about my constant urge to outrun loneliness, especially when what I often need most is to be fully by myself.
