ever since I first picked up a camera, I’ve been fixated on the concept of the self. as it turns out, the self might just be the best subject I could ever manage.
for all intents and variant purposes - my work shot on film.
image’s shot using a Nikon D40x, formatted to shoot only infrared images.
pictured locations: Altadena, CA, Olympia, WA (The Evergreen State College and downtown)
june-july, 2018. a joke about revamping drew’s tinder profile using photos of his many bikes turned into an actual series centered around our unavoidable graduation from college.
may 2018 - an immortalization of a benevolent clown
a vacillating collection of faces.
selections from France, Ireland, the Puget Sound, and more.
I’ve been on at PUG in some capacity ever since I was a kid. launched online in 1999, Laura Byrnes created the company out of her living room after getting into sewing via designing clothing for her newborn. I’m that kid, and the rest is history.
as a junior, I took a year-long project entitled “Art/Work” with Julia Zay, Kathleen Eamon, and Shaw Osha. My final project, initially an attempt to understand innately masculine energy, culminated in a series of videos, focused on my uncertain position as both a non-binary person, and someone who passes as a woman with very little trouble.
from my artist’s statement -
“Their performances sometimes radiate a cold and latent violence. At times, a disconcerting sense of beauty emerges. The inherent visual seductiveness, held within the purportedly unhinged body of work, further complicates the reception of their manifold layers of meaning and understanding. By emphasizing their own internal struggles with gender, they pull the viewer into a world of ongoing equilibrium in the pursuit of an honest perspective. Their work with movement, sound, and space seeks to solidify the innately human drama that clarifies our existence. “
author photos for the award-winning Winner Twins, shot in 2018
captures from my collegiate senior project- a zine entitled transferentia which was accompanied by a one-night-only performance. the work, inspired by the Trojan War and my lifelong studies of Greek mythology, asked the following questions:
How does one cope with the inevitability of knowing the future holds pain? What is the role of the wound that has yet to be delivered?
Using the cursed prophecies of Cassandra and the dire anticipation of the shadow of Achilles’ heel, these questions hung in the balance of an education’s worth of expectation.