Breathers is an emotional portrait, a near-typology of Pacific Northwest trees and their relationship to the developing landscape that is my mother in-law's early onset Alzheimer's Disease. They push upward and hover over homes, set against skies that isolate them like studio backdrops. The holes in their branches and leaves mimic gaps in cognition and metaphoric spaces left in the brain. They have seen and heard everything and hang – breathing – through it all.
This work processes a move and adaption from New York City's concrete mass to the Pacific Northwest's green oasis, and the reasons for moving; a disease that has claimed a rapidly vanishing memory, and the toll it's taken on our family. In this context, the trees serve as listeners, breathers, and emotional guardians that have witnessed trauma and change.
These photos attempt to make sense of the ominous intersections between man-made objects and our natural landscape. They are a response to the way we live now, in constant communion with our surroundings, finding elements of science fiction in the everyday.
These photographs reflect the love/hate relationship that many Americans have with fast food, and, like many other aspects of popular culture, its ability to be simultaneously seductive and repulsive. Hamburgers, French fries, chicken nuggets and "specialty" sandwiches are scanned on stark black backgrounds, isolated from their branded context, without name recognition, nearly floating in space. Under austere, uniform lighting; stripped of branding, packaging and iconography, the food takes on a scientific, yet ethereal quality that is at times both revolting and mouthwatering.
A Number of Obstacles (Coming Soon)
The Serpent and the Rainbow:
The Serpent and The Rainbow is a series of stills from the production-logo introduction screens of VHS tapes of 1970's and 1980's horror and science fiction movies. I’m drawn to the false sense of eeriness that production houses achieved simply from combining a cheap, yet vibrant logo with lo-fi Casio-driven soundscapes and their ability to create a sense of terror that is at times more horrific than the movies themselves.
These images were made over a period of 5 days spent in Hiroshima in October, 2012.
From Russia With Love:
From Russia With Love is a series of low resolution photographs culled from spam emails I received over several years. The emails were sent by unknown figures posing as Russian and Eastern European women soliciting relationships with American men. Cast in often-fragmented English, they promise devotion, intimacy, and sexual companionship.
They embody an assortment of emotional and sexual clichés, but in some way their "presentation" of self and sexuality is believable. The origin of the images themselves, whether they are of actual “available” women or pirated images from Google searches is as mysterious and unsettling as the demand for these women as commodities for Western men.