I am deeply interested in the photographic document, as well as, the culture of image production. Photographs today are made in a fraction of a second, distributed globally, and consumed unceasingly. My work slows down this process, this act of looking—both provoking and reflexively studying our relationship with the image, and considers the complicated impact photographs have on the person, institution, and culture. Borrowing or coopting strategies from photographic genres outside of art instigates critical views on photographic documents that typically exist unquestioned. My photographic practice finds non-conventional strategies for challenging traditional pictorial aims in favor of an exploratory approach to the medium. The vernacular takes precedence to lyricism and often I select personal snapshots from my phone to create work that explores the epistemology of photography—knowledge and its production. A photograph is analogous to a “narrowly selective transparency” and the act of looking is influenced by idiosyncrasy. In contrast to the theoretical, humor and playfulness are qualities I savor—laughter or absurd amusement from my viewer is undoubtedly a goal. 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. Today that is 19th century California photography, linear perspective, and critical dialogue about the photographic document. Cameras became available when many Americans began resettling in the Golden State. A single largely unknown Carleton Watkin’s photograph documenting a gold mining operation on the Feather River of Oroville California is my current source for investigation. 

 

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