Since receiving a camera on my eighth birthday, I have been testing how photography collects and remakes my favorite parts of the world. I print with nineteenth century photographic chemistries on handmade surfaces, exploiting my processes' inherent potential for romantic abstraction, physical control, and dumb luck.
I see my studio practice with handmade photographic processes as part of significant currents within contemporary craft, particularly the exploration of materials and intentionality around process. I use photographic printmaking the way a metalsmith might approach the fabrication of jewelry: everything is fair game as material and structure. My images are objects that result directly from their parts and methods. While process, for me, is important and necessary it is not sufficient; process gives me tools for rendering for the viewer a sensory experience that embodies the physical delights of locating ourselves in the natural world.
The capacities of light sensitive compounds and the properties of paper provide voice to speak of the energy of the oceans, the blue of the sky, and the life of birds. Ordinary and wondrous phenomena are my means and my subject.