I am interested in the photographic document. Photographs today are made in a fraction of a second, and consumed nearly as quickly. My work slows down this process, this act of looking—both provoking and reflexively studying our relationship with the image, and considers the impact photographs have on our understanding of history, truth, and representation. My photographic practice finds non-conventional strategies for challenging traditional pictorial aims in favor of an exploratory theoretical approach to the medium. A photograph is more analogous to a “narrowly selective transparency” and the act of looking is manipulated by idiosyncrasy. The vernacular takes precedence to lyricism and often I select personal snapshots from my phone to create work that explores the ontology of photography. Humor and playfulness are qualities I savor, contrasting charmingly with the conceptual they provide a catharsis or unassuming chuckle. My interdisciplinary practice utilizes processes from the complete history of photographic technology, paint-based medias, and found objects. My love of photographic process and optical technology results in a mélange of representations from cyanotype to wet plate collodion, toy camera and polaroid, contemporary digital technologies, and found imagery. Research is an important component of my practice. 19th century California photography is central to my current research. Cameras became available when many Americans began resettling in the Golden State. This produced a unique confluence of budding photographic technologies, lifelike representation, and pioneering California culture that was immortalized by a medium that could freeze and document life itself. A single largely unknown Carleton Watkin’s photograph documenting a gold mining operation on the Feather River of Oroville California has become my current source for investigation. 

Threads of inquiry:

What remains of the photographic document if evidence is considered ambiguous?

What are strategies to represent a dynamic lived experience, how does photographic representation influence interpretation?

What are the value systems in photography, how may they be disrupted?

 

EDUCATION

2019        MFA (pending), San Jose State University, San Jose, CA 

2016        BFA, California State University, Chico, CA

 

SOLO EXHIBITIONS

2018    A Snapshot Revisited, Theta Belcher Gallery, San Jose State University, CA

2017    A Few Anecdotes, Gallery 3, San Jose State University, CA

2015    The River, Laxson Fine Arts Gallery, Chico, CA

 

GROUP EXHIBITIONS

2018    Gallery 3, San Jose State University, California, Countering Productivity

2017    The Image Flow, Mill Valley, California, Alternative Process Photography Exhibition

            Gallery 3, San Jose State University, California, Image and Idea

            Gallery 3, San Jose State University, California, MFA Student Showcase

            The Growlery, San Francisco, California, Creep

2016   Janet Turner Print Museum, California State University, Chico, Wide Open Spaces

            The Image Flow, Mill Valley, California, Alternative Process Photography Exhibition

            Chico Museum, Chico, California, Chico Through Time

            Dope Dope Dope, San Francisco, California, Lucid

2015   1078 Gallery, Chico, California, Artober Salon Fundraiser

            University Gallery, California State University, Chico, 60th Annual Juried Student Art Show

            Chico Art Center, Chico, California, Focal Plane and Multi Plane

            B-So Space, California State University, Chico, Red

 

ART JOURNAL PUBLICATIONS

2016  The HAND (Roeland Park, KS), Issue #14, October 2016

           SHOTS (Minneapolis, MN), Issue #132

           Dope Dope Dope (San Francisco, CA), Issue #1

           Don’t Take Pictures (Brooklyn, NY), Glass & Tin, Summer 2016

           The HAND (Roeland Park, KS), Issue #12, April 2016

           Photographer’s Forum, “Best of College & High School Photography 2016”   

 

AWARDS

2017   SJSU Graduate Equity Fellowship