group show 44
Christopher Rodriguez has exhibited nationally and internationally and recently published his first monograph, Sublime Cultivation. Originally from New Orleans, he earned his B.Arch from Louisiana State University and then received his MFA from the School of Visual Arts. He is recently married to his wife Larissa, and lives in Brooklyn.
Statement: This image is from the series, Sublime Cultivation, which explores conditions of the sublime, or concentrated moments of rapture, and argues for a mysterious landscape in a cynical and saturated image consuming culture. Sublime Cultivation is an umbrella under which I can question our relationship with nature that is sometimes whimsical, and often heavy.
Tarrah Krajnak was born in Lima, Peru in 1979. Adopted and raised in Cleveland, Ohio she received a BFA from Ohio Wesleyan and an MFA from the University of Notre Dame. She currently lives and works in Los Angeles.
Statement: SISMOS79 (derived from the Spanish word for “earthquake”) is a long-term project that examines the particular sites of intersection between my own life and the turbulent period in the history of Lima, Peru circa 1979.
Tomoko Kawai is a photo artist based in Japan. She graduated from Academy of Art University in San Francisco. She creates photographic works that emphasize a fuzziness in our society. She received 2nd prize of TOKYO FRONTLINE Photo Award 2013, has been selected for the shortlist of Fotobookfestival Kassel Dummy Award 2014 and has participated in an extensive art project “Tokyo-Ga” with 100 photographers.
Brad Carlile lives in Portland, Oregon and New York City. He has exhibited at MoMA Rio de Janeiro (in collection), Guatemala, Germany, Austria, Qatar, China, Argentina, and over 60 shows in the USA. Brad’s 2014 solo show was part of the 25th Encuentros Abiertos – Festival de la Luz in Buenos Aires, Argentina. In 2014, Brad was recognized as PDN photo annual winner. Brad has won over 14 fine-art photographic awards.
Statement: Tempus Incognitus is a series of hotel rooms that invite one to imagine the multitude of human emotions played out within their confines. Despite the fact that globalization has homogenized our interior environments, the stories that have taken place within these rooms are unique. Think of Edward Hopper interiors awash in James Turrell colors with David Lynch directing. Multiple exposures are photographed over two or more days and images are created in camera and on film with no digital manipulation. Only the light in the room is used to create the images – no colored bulbs or gels are used.
Nando Alvarez-Perez was born in Buffalo, NY. From 2008-2011, he studied the history of cinema at Hunter College in Manhattan where he graduated summa cum laude and received his BA in Film Studies and Special Honors from the Thomas Hunter Honors Program. He recently graduated from the San Francisco Art Institute where he was awarded the Master of Fine Arts Fellowship in Photography in 2012. He finished his second book, Lacuna, while there. His work has been shown in Buffalo, NY San Francisco, Oakland, Berkeley, CA, and Portland, OR as well as in a number of online publications.
Statement: Working across all photographic genres, my work deals with the nature of photographic perception itself as I create an ambiguous, open-ended archive of images that reveals and revels in their capacity for slippage and uncertainty. Digital photography, with its fine tuned control of color, helps me to visually unify my photographic universe. Together my images constitute a symbolic ecosystem of shared signs – translations from the material world into the perceptual – as I play within the memory of photography and imagine what its future could be.
Rebecca Najdowski works in photography, video and installation. Currently, she is the Artist Fellow at the Center for Creative Photography in Tucson, Arizona. She received her MFA from California College of the Arts and was awarded a Fulbright Fellowship to Brazil. Her work has been exhibited and screened internationally. Najdowski has been an artist-in-residence at CAPACETE in Rio de Janeiro, at Signal Fire in Oregon, at the Institute for Electronic Art at Alfred University, New York, and at Kala Art Institute in Berkeley.
Statement: My artwork centers on the use of photography, video and installation to explore natural phenomena and the notion of landscape. Through analogue color photograms, I am proposing a new perspective on landscape photography in which the physical environment is part and parcel to the art-making process. These “landscape photographs” are created by making physical impressions of desert minerals, plants and animals. I make multiple exposures, shifting the objects to highlight the use of different filters and point to the analog construction. The aim is to address the limits of representation through experiments with the material properties of photography.
Carson Davis Brown is an artist working largely in film and photography. His personal work ranges from introspection to our interaction with larger social structures. Brown also currently serves as the Documentarian and Media Director for Cabin-Time, a roaming artist residency. When he's not traveling with friends you can find him working from home in Grand Rapids, Mi.
Statement: This work depicts the 12th Mass installation, Mass_012. Mass is a site specific installation project about creating visual disruptions in places of mass. Installations are made without permission, using found materials within each location. “Places of mass” are currently characterized as being large retail establishments (super centers, big-box stores, etc.).
Hollis Johnson (b. 1993) grew up in southern New Hampshire and is currently based in Boston. He is pursuing a BFA in Photography at the Massachusetts College of Art and Design. He has participated in group shows nationally, and has been featured in several online exhibitions, most recently through Oranbeg Press. His work tackles the oddities of the modern experience of man with a certain degree of wry humor – not too much, though. He enjoys modal jazz, David Bowie, and books that high school students typically hate.
Statement: Human labor collides with dispassionate technical trials in a world of conference calls, grey carpets and blank walls. Flow funnels and segregation tests begin to adopt complex connotations as the absurd takes hold. Metaphor and immutable fact are portrayed without deference or distinction within these spaces, with clinical evidence further muddying the waters of context. Taken within industrial complexes and labs within the Greater Boston area, the ongoing series,We Look Forward to Working with You, explores the farcical instances teetering on pseudo-science occurring within these precise domains.
Lorne Blythe was born in Kentucky, where he studied literature and philosophy at Northern Kentucky University. After graduate study in philosophy at Syracuse University, he moved to New York to practice art. Since completing an MFA in Photography, Video, and Related Media at the School of Visual Arts, his work has been shown at the Wassaic Project, Ohio University Art Gallery, Vox Populi Gallery in Philadelphia, Denny Gallery in New York City, and Gallery 21 in Moscow, Russia. The artist’s work is held in the collections of Raymond J . Learsy and Melva J . Bucksbaum and Claire Danes.
Statement: My art works with concepts from the human sciences and field of industrial production. I often combine the following techniques in the production and display of my work; reusing or modifying technical and commercial images, reconstructing scientific tests, displaying fake tests as real tests, as well as producing reflexive concepts on the ontology of art. In this way, I make work about the industrial organization of experience in relation to the historical development of art.
Justin Hodges is an interdisciplinary artist from rural South Georgia, and a relatively recent transplant to the Ohio area where he lives and works. In addition, Hodges is currently in his final semester of study at the University of Cincinnati, where he will receive an MFA with an emphasis in photography in May.
Often humorous and occasionally irreverent, Hodges’ work speaks the language of material. Through playful reorientations, Hodges creates images from objects, and objects, which return, in kind, to image. In this conflation of the two, thing and representation of it, the complex relationship of man and world approaches the fore.
Statement: Humans clock in on the food chain just above predators with sharp teeth and claws. The hierarchy exists because of advanced problem solving skills, and probably thumbs that move a little more. In this model, human agency is active, enabling it to push against a planet full of passive things. Hand with Orange Goo, suggests that the things pushing back are as critical as the ones doing the pushing.
Joseph Desler Costa lives and works in Brooklyn, NY and Florence, Italy. His hyper-stylized imagery exists somewhere between a solid specific and a glittering generality.
Statement: My interest currently is in creating compositions and pictorial sequences using objects of mass production and desire that remain just abstract enough to be simultaneously melancholic and sublime.
Ryan Oskin is an artist currently living and working in Brooklyn, N.Y. He is the cofounder of TGIF Gallery, an artist run group showcasing emerging artists. His work investigates themes of domesticity and nature through photography, sculpture and video. He graduated from Pratt Institute with a BFA in Photography in 2012.
Statement: My work often addresses the still life through my studio space where found and created objects are combined. By circumventing digital manipulation or relying too heavily on the “straight” photograph, my practice allows for the process and variations of a photograph to become apparent. The final photograph functions as both a document and a work in itself. As I begin to shift in between photography, sculpture and video, my relationship to the static image is in flux.
Karine Laval is a French, Brooklyn-based artist who makes photo-based works, films and videos. Her work has been exhibited internationally, and was featured and reviewed in The New York Times Magazine, The New Yorker, Harper’s, EXIT, Eyemazing, Le Monde, Next Level, and Eyemazing, among many other publications. In 2014, Laval received the Jury’s Prize at the 6th ASVOFF Film Festival in Rome for her short film State of Flux II.
Statement: I am interested in the way lens-based mediums have the ability to challenge perception and I have used light, color and form to create often-disorienting images on the edge of the real and surreal, experience and imagination. My distinctive use of color questions the relationship between representation and reality, with some of my recent works moving towards abstraction and the dissolution of the image. I integrate analog and digital processes to further explore the transformative power of the camera and investigate the relationship between image and surface/materiality.
Vinicius Nakashima lives and works in São Paulo, Brazil. Nakashima has a BA in visual arts from the Centro Universitário Belas Artes de São Paulo/Brazil, and has had solo exhibitions at Vedettes de Paris, at Foto Cine Clube Bandeirante of November 2009 to January 2010 and also in the Consigo Hall of Photography in March 2010 in São Paulo. Nakashima’s work has also featured in the XVII Biennial of Photographic Art in Color History Museum in Londrina, Paraná in May 2011. Among many other awards and exhibitions, Nakashima also won the 1st place in the XII Arts Hall of Guarulhos/Brazil. In 2014, he was selected for acquisition in Passion to Perform from Yamana Gold in Canadam and his solo exhibition Artifice was exhibited during the July in the city of Guarulhos/Brazil.
Melissa Eder is an artist who creates photo-based projects that explore notions related to female identity, popular culture and kitsch. Eder received her BFA in painting from Parsons School of Design in New York City where she studied with Sean Scully and a MFA in combined media from Hunter College in New York City where she studied with Robert Morris and received a Meritorious Award from the Alumni Association. In 2014, her work was included in the Aperture Foundation’s Summer Open. Her work has been reviewed by The New York Times, highlighted in Feature Shoot, Co Design, the Collector Daily, and various other publications. She lives in New York City and works in Brooklyn as an artist in residence through the chashama studio residency. She was born in Long Branch, New Jersey on October 8, 1963.
Statement: I am interested in exploring ideas related to beauty, popular culture, and kitsch. Can You Dig It? A Chromatic Series of Floral Arrangements is a series of 30 x 40” photographs taken of floral arrangements that I have created. Part of my artistic practice is collecting objects to photograph from .99 cents stores. These ‘fake’ flowers used were gathered from various .99 cents stores found throughout New York City and New Jersey. The backdrops are made out of polyester spandex. These photographs challenge notions related to what is natural and artificial, what is considered to be beautiful and what is considered to be tasteful.
Pascal Amoyel holds an MFA from the ENSP-Arles (2005). His work explores the distance between the neutrality of documentary style photography and the subjective glance specific to the photographic process. Lately, Western Surveys has won the Honorable Mention Award from Shane Lavalette at OPEN and took the Second Prize at FotoFilmic’14. His work has been exhibited both nationally and internationally: Michèle Chomette Gallery (Paris), Montréal-Paris in Loco (Paris), Cleveland Museum of Art (book show), Morris Museum of Augusta (group). He curated the acclaimed exhibition Intrusions at the Michèle Chomette Gallery. He lives and works in Paris and NYC.
Statement: Montreal-Paris is a transatlantic photography project by Pascal Amoyel & Thomas Bouquin, which invents a new place, "Montréal-Paris," made up of the encounter of their home cities. It finds its fulfillment in the release of six seasonal chapters, from UN to SIX, which form kind of a city-book, and in a series of exhibitions which creates a free-flowing space between Paris and Montreal. Pascal & Thomas blend their images into one observation of a city as an idea, regardless of location and use motifs and color to create a series of echoes.
Melanie Flood is an artist and curator from New York. She began curating print projects for zingmagazine while Managing Editor in 2002, and in 2008 opened Melanie Flood Projects, an artists’ salon located in her Brooklyn residence. Focusing on emerging photography MFP was featured in The New York Times, New York, and Photo District News. After relocating to Portland, OR she re-launched MFP in her studio expanding programming to include sculpture, sound installation and video.
Statement: Suggested Experiences embraces emergence, chance and failure. The works suggest misaligned narratives composed via the juxtaposition of photographic studies of richly patterned textiles, playful tableaux based on blurry childhood memories, and quiet, focused arrangements. More explicitly, a suite of self-portraits explores the passage of time with questions around cultural notions of youth and aging. Suggested Experiences questions expression itself as well as the ways documentation serves and challenges an evolving creative process. Suggested Experiences is funded in part by the Regional Arts & Culture Council.
Casey James Wilson was born and raised in Austin, Texas and currently resides in Ohio while pursuing his MFA at the University of Cincinnati. His work has been featured in various shows throughout the US and the UK, as well as many online projects including The Tremendous Family, NET TEN by Oranbeg Press, and Dark Matter by Conveyor Arts. Wilson recently organized shows at Neon Heater Gallery and Meyers Gallery at the University of Cincinnati. He will have a solo show at Neon Heater Gallery in April 2015.
Statement: The focus of my practice generally deals with the efficacy of the photographic image to communicate information. Currently, I am interested in exploring the failures, slippages and fractures in photographic representation and how these issues effect the successful communication of meaning through the image. In doing so, I often look at the medium of photography in order to highlight its inherent properties (ie. the conflation of time and space, artifice, stagecraft, lighting effects and color mixing, etc.) by means of emphasizing digital processing techniques and manual manipulation of the image during capture. The alienation and confusion that results are intended to call into question our larger relationship with photography today.
Born in Buckinghamshire, England, John Maclean spent part of his childhood in Canada and the United States. He began using a camera at the age of fourteen when he discovered the book American Images, featuring the work of Lee Friedlander, Lewis Baltz and John Gossage. After studying mathematics, physics and geology he went on to graduate in photography at the University of Derby. He subsequently worked at The Royal College of Art for four years. Maclean has been a London-based, freelance photographer since 1998. His exhibition of Two and Two was a solo show at Flowers Gallery, London.
Statement: In our day-to-day lives, color is largely secondary to form by practical necessity: the shape of a tree is more important than its color. In art history, color has rarely been considered a worthwhile subject. My color photographs are not intended as a means of understanding color, but use color to structure my process of image-making. Why? Because, in a contemporary culture where images that cannot be explained by words are mistrusted, color remains defiantly ineffable, mysterious and uniquely able to highlight the enigmatic nature of human visual perception.
Jessica Labatte received a MFA and a BFA from The School of the Art Institute of Chicago. Her work has been exhibited in numerous galleries and museums including the Museum of Contemporary Art, Chicago, Museum of Fine Arts, St. Petersburg, Elmhurst Art Museum, Hyde Park Art Center, Higher Pictures, Golden Gallery, and Horton Gallery. Her work has been reviewed in The New York Times, The New Yorker, Artforum.com, and Chicago Magazine. The artist will have a solo exhibition at Western Exhibitions, Chicago in March 2015.
Statement: Labatte embraces dust, the natural enemy of the photographer, in her series, Spotting. In the analog darkroom, the space between the enlarger and the photographic paper hides all but the largest particles of dust. If a photographer is not meticulous about removing dust from all photographic apparatuses, they have to spend time “spotting” their final prints to prevent surface imperfections in the final print. “Spotting” fills in the dust spots with ink that will match the surrounding surface. Ironically, the high resolution scans that make large format inkjet printing possible illuminate every particle of dust that graces the surface of the film, even specks beyond the photographer’s vision; it can take hours to remove dust from a very large file. “Spotting” is work traditionally done by assistants as it is considered to be mindless labor. Contemporary digital technology offers a specific tool, the clone stamp, which has made “spotting” an incredibly quick and simple process.
To honor the labor of the assistant in the retouching process, Labatte has left the “spotting” layer in Photoshop visible in the final print. This labor is not mindless, but reveals the individual decisions each assistant makes regarding brush size, gesture and what should be removed. The resulting marks acknowledge the virtual cutting away of the image, revealing a perfect simultaneous contrast of color and tone to the background layer.
Marci Hunt LeBrun was born in 1980 in Providence, RI and received a BA in Fine Art Photography from Hampshire College in 2002. She primarily uses medium format film with a twin lens Mamiya C330. Her photographs have been exhibited in various group shows in Seattle and Portland and included in the publication Incandescent and her self-published photo zine IRL. Marci is currently based in Portland, Oregon.
Statement: The phrase 'deep time' refers to the time frame in which geologic events occur. This scale of time is so vast it is arguably impossible for humans to comprehend. In fact, simply trying to comprehend it has significantly impacted our understanding of evolution and is the foundation for much spiritual and philosophical debate.
It is with this spirit of curiosity about the incomprehensible that I approach photographing these geologic forms. Through the abstraction of color and scale, my aim is to challenge the viewer's perception of both the subject as well as the photograph's presentation of the subject. Hopefully, this tension provokes a similar sense of awe and wonder that the contemplation of deep time inspires.
AnnieLaurie Erickson earned her BFA in photography from the Rhode Island School of Design and her MFA in photography from the School of the Art Institute of Chicago. Her work has been shown nationally and internationally including at the New Orleans Museum of Art, the Boston Center for the Arts, the Ogden Museum of Southern Art, the Contemporary Art Center New Orleans, and CentrePasquArt, Bienne, Switzerland. She is currently an Assistant Professor and the Director of Photography in the Newcomb Art Department at Tulane University in New Orleans.
Statement: The series Slow Light addresses the phenomenon of afterimages – the latent imagery that remains on our retinas after we look at the sun or bright objects in the dark. Using handmade artificial retinas that register the remains of light, I am able to simulate an essentially unphotographable visual experience. The afterimage process renders the oil refineries of Louisiana (also “unphotographable” according to post-9/11 regulations) into ghostly, mysterious constellations of light marked by unearthly color shifts.
Michael Marcelle was born in 1983, received a BA from Bard College in 2005 and an MFA from Yale University in 2013.
Statement: Kokomo is an ongoing series, which centers around my family and hometown, a coastal suburb in the northeast that was ravaged by Hurricane Sandy in October 2012. Incorporating constructed dioramas, digital manipulation, appropriated family photographs and traditional photography, the work forgoes a diaristic approach to the subject matter, and instead builds an alternate reality over my biography, abstracting the specifics of a personal narrative and a town's destruction into an elusive, alien world.
David Wolf is a devoted film photographer, making both color and black and white prints by hand in the traditional darkroom. His work has been exhibited internationally at such venues as Aperture, The Griffin Museum of Photography, and the Lishui International Photography Festival in China. David’s work has appeared in print and online in Harper’s, aCurator, FlakPhoto, Fraction magazine, and the upcoming issue of the Houston Center for Photography’s spot. He was recently awarded an individual artist’s grant by the San Francisco Arts Commission to pursue his current project, The After Life of Things. A Boston native and Brown University graduate, David now calls San Francisco home, where his work is represented by Corden|Potts Gallery.
Statement: In The After Life of Things I draw a parallel between discarded things and discontinued photo papers as found objects. The hidden color shifts, fogging and stains that now characterize these papers become an intrinsic part of the printed image, and set the material parameters I work with in the darkroom. In this way the print itself becomes a found object, echoing the random encounter with the discarded thing it has as its subject. This project celebrates the wonder of darkroom photography in an age of its demise, inverting its decline by creating new work from unwanted materials as it explores the very notion of obsolescence itself.
Matthew Swarts lives and works in Somerville, Massachusetts. His work is represented by Kopeikin Gallery in Los Angeles and will be shown there March 7th to April 18, 2015, and at the AIPAD photography show April 16–19, 2015.
Statement: I’ve become especially fascinated by the ways in which my perception, most notably of those I love and have loved, often turns out to be illusory and confounding. In my work I have chosen to layer information over my digital photographs to memorialize this very plasticity. I am interested in finding ways to make visible how our view of a person (or a thing) is always somehow mutable — first of all by choice, but also through shifts in perspective, or changes in context, history, and time.
Jesse Chun is a visual artist based in New York. Her work investigates notions of home in context of place, identity and mobility. Chun received her MFA from the School of Visual Arts in 2014 and a BFA from Parsons the New School for Design in 2006. Her work has been exhibited in New York, L.A, Miami, Seoul, Hong Kong, Toronto and Istanbul. Select reviews include The Korea Times and the Asia Literary Review.
Statement: I investigate paint color swatches from home improvement stores to examine the abstract associations that are made with color in the domestic vernacular. I select colors based on their names, and scan the swatches into digital image files. Using the jpegs/tiffs as a source material, I produce photographic home decor items via D.I.Y custom print service websites. My photo sculptures reference the commonly employed physical presence of photography in the home. They reveal our interior motives – the desire to personalize, memorialize, decorate, improve and bide in a place to call home.
Jeremy August Haik is an artist, writer and educator. He holds an MFA in Photography, Video and Related Media from the School of Visual Arts. He has exhibited most recently at Cindy Rucker Gallery, NY; Michael Matthews Gallery, NY, The Camera Club of NY, and Guest Spot in Baltimore. He writes for Conveyor magazine and teaches photography at the School of Visual Arts and Hunter College. His background in literature and mythology informs his work, which deals with written and visual forms of language in the context of digital systems and historical narrative. He currently lives and works in Brooklyn.
In my current body of work, the language of science and history are my materials. I photograph studio arrangements of images and text taken from books that address these topics. I focus on the codified presentation of systematized knowledge these fields create. Each image is the product of experimentation with washes of colored light, printed matter, and polaroid photos. Some are manipulated digitally, but most remain as the camera saw them. This blending of chance and choice reflects my interest in the pliant nature of knowledge and historical narrative, and suggests the possibility of alternative narratives through unexpected combinations.
In the last three years, Suzanne Engleberg’s work has been included in over forty-five juried exhibits in San Francisco, Los Angeles, New York, Virginia, Texas, Oregon and Vermont. She has also received numerous awards, including a Juror Award of Merit in the 2012 International Fine Art Photography Competition, Grand Prix de la Couverte, awards in the 2013 Pollux Awards in both the Fine Arts and Landscapes categories, and Second Place in the 2013 New York Center for Photographic Art Competition.
Statement: This photograph, “Blue Skies” is part of a series titled City Shades. The Cruise America RV in the image can be interpreted to be presenting an advertised or, perhaps, idealized vision of the beauty of America. It depicts an American landscape with a pale blue sky filled with soft clouds. The painted sky on the back of the RV is juxtaposed against the brilliant blue cloudless sky in San Francisco. Ironically, reality in this image is more beautiful than the idealized vision.
Alexis Pike is a sixth generation Idahoan calling on the geography of her genes for inspiration. She currently lives in Bozeman, Montana and is an Assistant Professor at Montana State University where she teaches photography. Pike received her BFA from Boise State University and her MFA from the University of Iowa. She has exhibited work at Blue Sky Gallery, been a Top 50 finalist for Critical Mass, exhibited in the public art installation THE FENCE in both Brooklyn & Boston. She has also been published in Harper’s magazine and has a monograph published by Blue Sky Gallery in Portland, Oregon.
Statement: Color Me Lucky is a work in progress, inspired by Evel Knievel who was marketed to my generation through toys, comics and trading cards. Evel represented fantasies of soaring over obstacles even if the landing wasn’t pretty. Honestly, it’s a little early for me to really know exactly where the project will take me—it is moving beyond being just about Knievel’s legend. That said, at this point I think it’s a project exploring sex, masculinity, image, risk, the West, and the momentum that carries you forward, even when you know there’s a train wreck ahead.
Alice Hargrave is a photographic artist, and educator. Her work explores the fugitive nature of experience, time, light, and the photographic medium itself, and how photographs literally color memory, and perception. Hargrave has exhibited widely, is in several collections including The Museum of Contemporary Photography and The Ruttenberg Collection. Her work has been seen at Yale University Art Gallery, The Smart Museum of Art, The Museum of Contemporary Photography, The Tweed Museum of Art, Art Metz (France), and Carol Ehlers Gallery, who represented her. Hargrave has received many awards, has been published and reviewed in several journals, and is an adjunct professor at Columbia College Chicago where she has taught both full time and part time since 1994.
Statement: Untitled(expeditions) explore the ephemeral, seek the sublime, and allow visceral color to inscribe emotion upon photographs. They depict experiences or memories that reflect the passage of time. Inspired by the heroic landscapes of early travel photography and vernacular family photography, I embrace these clichés of documenting family travels, where photography’s role is to harness the exotic flora, fauna, or Kodachrome moments from a moving car, and turn these tropes inside out. The color becomes a subject itself, leaving behind its mood and patina as a shroud.
Sadie Wechsler was born and raised in Seattle, Washington where she currently lives and works. Sadie is know internationally for her commitment to making photographs and having fun doing it.
Statement: I create and reflect upon a natural landscape as it explodes and re-forms around its last survivors. Rocks form one on top of the next, a river cuts through the layers, freezes, thaws and splits the layers apart. Millions and billions of years now sit side by side. The incongruity of time and the disorientation of place allow for the emergence of stories and possibilities. Just as a place is constantly redistributed, so is the flat photographic plane, shifting, mutable, alive and unrestrained. Urgency and tactility transform bodies and land through collage, consolidation and exaggeration. These tools reflect different techniques of constructing and manipulating our surroundings. The images discover a place where documentation becomes appropriation, transformation leads to reconfiguration and all expectations disappear before they arrive. My images encapsulate, advertise and iconicize a reality that I control, where space is mutable. I visually approximate the disruptions and shifts of my experiences in the world. If photography is a medium capable of change, acclimation and physicality, it will speak natively to a life in flux.