Concepts of place, nature, home, belonging, and community are first imagined. Then our fluid definitions are embodied, shaping our actions and future. As an artist, I imagine stories that create collective understanding of reality, clearing away narratives that are collapsing all around us, opening space for emergent possibility.

My artwork is rooted in relationship between land and people, mapping a felt-sense of belonging and intimacy with personal landscapes. Understanding that geographies are far more than contour, landscape come alive with memory. As Lucy Lippard writes, “If landscape is a way of seeing, there are potentially as many landscapes as individual ways of seeing, or at least as many cultural ways of seeing.” These landscapes are visible and invisible, constructed by our socio-cultural, political, and personal understandings of them; and we, in return, are changed as a culture and people by the landscapes.

As a queer artist studying the landscape I am aware of how one feels in a place is a reflection of one’s sense of belonging, inscribed on and in the body and within the land. How does the social-geography of place lend itself to intimacy with our surroundings? How do ours and others' personal freedoms – or lack thereof - literally and figuratively change the land?

Returning to the origins of photography, my artistic approach thrives in constraints of hand-made practices of analog photography and printmaking. My practice involves medium and large format photography and tricolor gum-printing – a process of making color photographs by hand. The way I am forced to slow down with the analog nature of these practices tells a story that places value on the handmade, inherently subject to the constraints of nature and therefore imbued with feeling and spirit.