Memory 2x : Project Statement

Memory 2x, a series of classic portraiture. Featuring people that share memories and experiences with me. I want to capture what the recall of our shared story looks like - the manifest of memory will display on the face of the sitter. I believe in this way I will be able to authentically see them, while simultaneously see my reflection.

I'm seeking to capture a shared memory / emotional connection  / relational reaction in people who know me. I am the second, but "unseen" component in this dynamic. I am only "visible" through the interpretation of the face of the sitter. Shared story + visible emotion. 

Each sitter will have multiple sessions - a mini series - within this series. Each sitter will be photographed in their environment which is visually representative of what they do / who they are to the outside world.

My plan is to use a vintage manual lens (Minolta MD 28mm) with an adapter to my modern digital camera (Sony a9) - the equipment is in a way a memory too - a recall to the past.

Our conversations, the memories that we shared are only relevant to myself and the sitter and therefore the stories themselves will remain private.

Please contact me if you are interested in this project and/or have questions, thank you!   Images here.

BIKE PHX : Project Statement

People, paths and politics in Phoenix, Arizona. Bike events and rides. Bike paths, bikeways, lanes and more. And dedicated bike riders and people who are committed to furthering bike-ability here in the Phoenix metro area. 

 Tempe Town Lake Ped/Bike Bridge.

Tempe Town Lake Ped/Bike Bridge.

Lunar Landscapes : Project Statement

Featured on New Landscape Photography, June 2018.

The idea for the series Lunar Landscapes came about on an impromptu photoshoot at Dreamy Draw Park for the Super Moon full moon on 12/02/17.  The series came together in my mind while waiting on the moon to crest the mountain - each month for each full moon, a different park, in Arizona.The goal, to photograph the landscape, to catch the full moon cresting the horizon, so I could do what I love to do, be outside at night shooting long exposures. But, not just anywhere. Here, in Arizona, in the desert with the rocks and cacti

 Dreamy Draw, 12/02/17

Dreamy Draw, 12/02/17

In 2015 I shot HOT SUMMER NIGHTS, all long exposures at night of urban landscapes - all in Phoenix. In 2016 was Night Water, again, all long exposures at night, of the canal system here in the city - then in 2017 I only worked on Nightlight - a self-portrait project, shot indoors, again long exposures done at night, but indoors. I missed shooting at night outdoors enormously. I was so ready to get back outside again. I can’t quite put my finger on it, to say it’s beautiful here is an understatement, it’s quite striking. When I’m outside at night I’m not experiencing some kind of metaphysical out of body mind meld magic - maybe I am!  ;) What I know for certain is that the combination of the light and the color and the heat feels magical*. I so wanted to get back to doing what I had done before - long exposures at night, but this time in the desert. Away from the urban core and the artificial lights. And be among the cacti and the creosote bushes and the sage and the rocks - under the moonlight.

Each month I scout out a new location, typically a park, although one month I shot at a private residence (see How I Got the Shot : Women's Guide BTS post)  The time frame of the shoot is very narrow - it’s one night, once a month, within in a matter of minutes as the moon is rising. And then it’s over - until the next month. 12 months, 12 outings. Narrowly defined parameters is something I consciously imbue into each of my projects. Setting my own “rules” for each series builds pressure which helps me clearly and purposefully create. Precisely defined boundaries - where ambiguation is absent, is inherent I feel, not only in how I prefer to live, but in my photography itself. Even in the murky darkness of my work, there is little that is not clearly what it makes itself to be.

View series images here.

*feels magical; the feeling of being hyperaware of myself and my surroundings; colors appear brighter, shadows darker, sounds sharper. I feel intricately engrossed in the moment and I see beauty everywhere. I feel alive.

Nightlight : Project Statement

My self-portrait project, Nightlight, is a series of long-exposure photographs created in 40 different homes.  From February - October, 2017 I traveled to 40 different homes in Phoenix and surrounding towns; Bisbee, Prescott, Gilbert, Mesa, Scottsdale, Tempe, Goodyear, Chandler, and Payson. My series of images are made upon first waking in the murky blue darkness an hour before dawn in 40 guest bedrooms.

Self-portraiture can be a solo endeavor, with a long history as a reflective practice for the artist through which they question, explore, and deepen their personal relationship with their creative processes. With Nightlight, I wanted to question and explore through the lens of community. My mobile phone is the sole source of artificial light, the “nightlight.” The resulting self-portrait images contain ghostly double-exposures, transparent shadows, and slept-in beds. I am seen “as-is” - revealing an acceptance of time, place and self. The room is not staged; I am not coiffed nor dressed for the camera. These images are personal, yet the project is public.This paradox, a yin-yang or introvert/extrovert undercurrent entices me.

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Searching for and scheduling 40 hosted sleep-overs in 40 different locations, with 40 different families invites/encourages/coaxes me and the host(s) into a deeper reflection and exploration of my art and artistic expression. Through the ordinariness of the sleep-over occasion, together we can then experience the graciousness of shared time, space and human connection. We can build community and experience fellowship.

I set the number to 40 for three reasons; 1. to be able to reach my goal within in one year (2017), 2. to ensure I would create a large enough volume of images and 3. To be able to meet and stay with people outside of my immediate friends and family circle.

Exhibition Plan

  1. 10-12 photographs printed and mounted - 34” x 40” Digital C Prints, see images in DropBox, images are titled by the date they were made. Images are shown as they will be printed.

  2. A diorama; a 1:12 scale replica of image #6894

  3. My behind-the-scenes materials digitized and accessible for visitors on an iPad including;

    1. Additional Nightlight images - over 1200 images were made

    2. Project notes with drawings, diagrams and plans.

    3. Tiny time-lapse videos showing the making of the diorama.

    4. Short audio clips - featuring my “after effects” - short narratives describing how the project impacted me emotionally and psychologically.  

The photographs, diorama and behind-the-scenes materials offer viewers three distinctive mediums to connect with. Paradoxes await the viewer of the show too because the images are revealing and concealing at the same time focusing on a time of day when who we are is not yet fully put together, packaged, and polished.

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Each viewer can step into these images as their experiences of predawn are reflected for them. Their worries, their aspirations, their success, and their failures merge with mine as they experience this project.

I successfully launched and fulfilled a Kickstarter campaign, fulfilled 100% on 10/27/17 - funds raised are earmarked to produce an exhibition of this project.

Night Water : Project Statement

See Google Map of my progress.

Phoenix is intense and harsh under the daylight sun, yet magical and beautiful at night when color is sultry and saturated - it’s palatable. A time when color reveals itself as tangible. I want to capture this heady mix within the urban landscape. Deliberately devoid of humans, my photography centers on architecture, streetscapes, city vistas - the lesser seen and the unseen within a human built framework.

Night Water is my series exploring Phoenix at night - focused solely on the nine canal systems. Scenes here are from portions of two of the nine.

I am motivated by knowing I will find something. Something beautiful, intriguing and worthwhile. It’s within this process; seeking, seeing, capturing - this is where I am most at home, this is where I want to be - here in the desert, at night.

For more info on the canals visit - by no means is this an exhaustive list:

http://www.srpnet.com/water/canals/history.aspx

http://arizonaoddities.com/2011/07/why-does-the-valley-have-a-canal-system-and-how-does-it-work/

http://arizonaexperience.org/remember/hohokam-canals-prehistoric-engineering

 Arizona Canal

Arizona Canal

 Grand Canal

Grand Canal

 Western Canal

Western Canal