In the wild, plants change their smell and color to help attract creatures to pollinate them, with the end goal of propagation. In the same way, artists and designers throughout history have adapted their floral symbols to attract people that will acquire and spread their new patterns and trends. What starts out as a life-like botanical illustration can evolve drastically over hundreds of years, much like the cherry blossom and the rose share common ancestry, but are now completely different flowers.
Over the past several years, I have been doing studies of the different flower symbols seen throughout the history of different cultures, and carving them onto white clay vessels as a neutral canvas. I enjoy the way the patterns and forms engage each other. Though I spend many hours looking at historical designs, I carve them from memory, adding my own interpretation while responding to the curves of my forms. My end goal is to create beautiful, utility-based forms that inspire users to engage in slow, deliberate moments of sustenance.
I was born into a family of photographers, I like to say that I didn’t choose photography; it chose me. I feel naked and vulnerable experiencing new places and things with out having a my camera to ensure I can capture the moments I would otherwise surely forget.
I am drawn to subject matter that most people overlook. Whether these are the details of nature and urban life, or the point of view and times of day most people don’t notice, I want to inspire my viewers to become more active in the way they visually engage the world around them. I also rely on photography to document the things that are important to me. My Abandoned body of work shows historically significant buildings that are in a state of decay. My architectural photography shows details of spaces that have been heavily ordained both with highly customized details, something which is usually lacking from our mass produced modern building techniques.
In my own work and teaching career, I am also devoted to keeping historical photographic processes alive. I value the spontaneity that is still possible with film and enjoy playing with alternative processes and unconventional cameras that allow the act of photographing to still be influenced by the subtleties of the moment, rather than perfect metering and focus.