top of page
CURRENT
WHERE THE WORK IS NOW
BODEGA
(2024) CONSIDERS THE QUIET COEXISTENCE OF ASPIRATION AND MODEST LIVING THROUGH THE LIFE OF AN EVERYDAY WOMAN IN NEW YORK CITY.
ELEGANCE IS NOT RESERVED FOR OCCASION; IT IS A LANGUAGE OF SELF EXPRESSION, CARRIED WITH HER FROM POLISHED PROFESSIONAL SPACES TO NEIGHBORHOOD AISLES, CITY SIDEWALKS, AND SUBWAY PLATFORMS. LIKE NEW YORK ITSELF, WHERE EXTRAORDINARY WEALTH AND ORDINARY LIFE CAN SHARE THE SAME BLOCK, THESE SEEMINGLY OPPOSING REALITIES EXIST WITHOUT CONTRADICTION.
THE SERIES FINDS BEAUTY IN THAT PROXIMITY, TRACING A WOMAN WHO MOVES FLUIDLY BETWEEN WORLDS WITHOUT SURRENDERING HERSELF TO EITHER. EACH PHOTOGRAPH IS PAIRED WITH A PAINTED INTERPRETATION, ALLOWING THE LIVED MOMENT TO SHIFT FROM DOCUMENTATION INTO MEMORY, GESTURE, AND ABSTRACTION.
BODEGA BECOMES A PORTRAIT NOT SIMPLY OF A WOMAN, BUT OF A CITY WHERE LUXURY AND MODESTY CONTINUALLY MEET, OVERLAP, AND BELONG TO ONE ANOTHER.
LIMINAL PRACTICE
(2024) EXPLORES THE QUIET TERRITORY BETWEEN WHAT IS KNOWN AND WHAT IS STILL BECOMING.
THROUGH BLACK AND WHITE PHOTOGRAPHIC STUDIES, THE SERIES OBSERVES THE BODY, IDENTITY, AND ENVIRONMENT AT MOMENTS OF TRANSITION, WHERE VULNERABILITY AND COMPOSURE, INTIMACY AND DISTANCE, MOVEMENT AND STILLNESS CAN EXIST AT ONCE.
RATHER THAN SEEKING RESOLUTION, THE WORK REMAINS WITHIN THESE IN BETWEEN STATES, ALLOWING ATMOSPHERE, POSTURE, AND SPACE TO CARRY WHAT CANNOT ALWAYS BE ARTICULATED. THE WOMAN APPEARS PRESENT YET SUSPENDED, AS THOUGH CAUGHT BETWEEN WHO THEY HAVE BEEN AND WHO THEY MAY BECOME.
LIMINAL PRACTICE CONSIDERS THE THRESHOLD ITSELF AS A PLACE WORTH INHABITING, WHERE UNCERTAINTY IS NOT AN ABSENCE OF IDENTITY, BUT PART OF ITS FORMATION.
BLOOMING RORSCHACH
(2024) REIMAGINES THE PSYCHOLOGICAL INK BLOT AS AN ORGANIC, EVOLVING FORM, USING SYMMETRY, DISTORTION, AND SATURATED COLOR TO EXPLORE THE INSTABILITY OF PERCEPTION.
FAMILIAR SHAPES EMERGE WITHOUT EVER FULLY RESOLVING, INVITING THE VIEWER TO PROJECT THEIR OWN ASSOCIATIONS ONTO IMAGES THAT EXIST SOMEWHERE BETWEEN FLORAL GROWTH, FIGURATION, AND ABSTRACTION. WHERE THE TRADITIONAL RORSCHACH TEST ASKS WHAT ONE SEES, BLOOMING RORSCHACH CONSIDERS WHY WE NEED TO SEE SOMETHING AT ALL.
THE WORK TREATS INTERPRETATION AS A FORM OF SELF PORTRAITURE, SUGGESTING THAT WHAT APPEARS WITHIN AN AMBIGUOUS IMAGE MAY REVEAL AS MUCH ABOUT THE OBSERVER AS THE IMAGE ITSELF. WHAT BEGINS AS AN INK BLOT BECOMES SOMETHING ALIVE, CONTINUALLY BLOOMING INTO A DIFFERENT FORM WITH EACH PERSON WHO ENCOUNTERS IT.
CHAOS IS THE NEW BLACK
(2025) CONSIDERS DISORDER NOT AS AN INTERRUPTION TO DAILY LIFE, BUT AS SOMETHING WE HAVE LEARNED TO LIVE WITH.
A FAMILIAR ENVIRONMENT IS OVERTAKEN BY AN EXPLOSION, BLURRING THE BOUNDARY BETWEEN WHAT IS STABLE AND WHAT IS UNRAVELING. “THE NEW BLACK” SIGNALS SOMETHING UBIQUITOUS, DESIRABLE, AND INESCAPABLE, TO QUESTION WHAT HAPPENS WHEN CHAOS ASSUMES THAT SAME FAMILIARITY.
BENEATH THE INTENSITY, FRAGMENTS OF ORDINARY LIFE REMAIN VISIBLE, SUGGESTING A WORLD THAT HAS NOT STOPPED BECAUSE OF DISORDER, BUT HAS SIMPLY ADAPTED TO MOVING THROUGH IT.
CHAOS IS THE NEW BLACK REFLECTS ON A CULTURE IN WHICH INSTABILITY HAS BECOME SO PRESENT THAT IT NO LONGER FEELS EXCEPTIONAL; IT HAS BECOME PART OF THE LANDSCAPE.
MAN DOWN
(2023) EXAMINES THE INVISIBLE WEIGHT CARRIED BY THE BLACK MAN WHO HAS BEEN TAUGHT TO ENDURE WITHOUT APPEARING TO BREAK.
THE FIGURE FOLDS INTO HIMSELF BENEATH A WEIGHT THAT CANNOT BE SEEN, YET FEELS PRESENT IN EVERY PART OF THE IMAGE, REFLECTING THE PRESSURES OF RESPONSIBILITY, EXPECTATION, ENVIRONMENT, AND SURVIVAL.
THE WORK CONSIDERS THE ISOLATION THAT EMERGES WHEN STRENGTH BECOMES AN OBLIGATION AND VULNERABILITY FEELS LIKE A LUXURY ONE CANNOT AFFORD. DEPRESSION EXISTS HERE NOT AS SPECTACLE, BUT AS A QUIET INTERNAL COLLAPSE, MADE HEAVIER BY THE EXPECTATION TO REMAIN COMPOSED FOR EVERYONE ELSE.
MAN DOWN ASKS WHAT HAPPENS TO THE PERSON BENEATH THE ROLE OF PROVIDER, PROTECTOR, AND PILLAR WHEN HE IS GIVEN NO SPACE TO BE HELD HIMSELF.
IF SOMETHING HERE STAYS WITH YOU, SAY SO.
bottom of page