Senior GSU 2020
This body of work delves into the exploration of multiple dimensions and the layers of reality that define our existence. Through the lens of spiritualism, I seek to create images that transcend the ordinary, capturing metaphysical experiences that evoke the unseen forces shaping our world. Using a variety of materials, I experiment with texture, color, and light to craft visual environments that suggest otherworldly possibilities, inviting the viewer to contemplate the hidden dimensions of life.
Each image is a journey into the unknown, where reality becomes fluid and the boundaries between the material and spiritual worlds blur. My practice is rooted in a desire to communicate beyond the physical—seeking connections with energies and entities that are felt but often invisible. Through this work, I aim to offer a glimpse into alternate realities, using photography as a medium to interpret the mysteries that lie just beyond our perception.
Large frames I build by hand using materials from Home Depot
Some of this work was featured in PHOTO BUCKHEAD 2020
by Atlanta Photography Group
Selected by Gregory Harris
Portfolio
GSU Class with Jill Frank
This body of work delves into the complexities of dimensions, layering, and interconnectedness within our existence. Using photography as a foundational medium, I incorporated materials like paint to create a sense of depth and invite the viewer to traverse across multiple planes of perception. The layered visuals represent the intricate nature of existence, emphasizing how we are all inherently connected, much like the layers of paint and images that interact across the surfaces of these pieces.
A key aspect of this work was the collaboration with family and friends, turning the creative process into a shared experience. These time capsules capture not just visual elements but also the emotions and memories of the moments spent together building these images. The process was as significant as the outcome, highlighting how art and photography can act as vessels of memory and connection, allowing participants to be transported back to the experiences they helped create.
The large-scale pieces were intended to embody the vastness of existence, mirroring the complexities of the universe itself. By integrating photographs of the human body with paint and other materials, I sought to explore an otherworldly dimension within us—revealing that our existence is far more intricate than the physical and material layers we perceive. These works speak to the profound idea that we are connected to something larger and more intricate than ourselves.
This project was the highlight of my BFA career at Georgia State University, and I take immense pride in the artistic and emotional depth it achieved. Although the pieces were tragically destroyed in a basement leak, their impact endures in the memories they created and the connections they celebrated. This work represents my commitment to exploring the intersection of materiality, memory, and the metaphysical, and it remains a deeply personal and formative part of my artistic journey.
Alternative Photo
GSU Class with Professor Jeremy Bolen
This cyanotype series emerges from moments of pause—those instances when the ordinary feels charged with something greater. It is during these interruptions, where time seems to slow, that I am compelled to photograph. These images capture the tension between the everyday and the extraordinary, inviting viewers to consider whether such moments are universal signs or merely fleeting phenomena.
Through this process, I explore the boundary between what we perceive as normal and what lies beyond—questions about spiritual resonance, hidden messages, and the unseen forces that shape our reality. Each image reflects my search for meaning, a visual meditation on the layers of existence that surround us and the mysteries that beckon us to look closer.
Large Format Film
GSU Class with Professor Joshua Dudley Greer
This body of work was created using large format film cameras in a class at Georgia State University, under the guidance of Professor Joshua Dudley Greer. In my exploration of the medium, I focused on capturing my family and the surrounding environment near my home. The natural world, with its quiet, still moments, became a source of fascination—its inherent mystery and otherworldly quality drew me in.
There is an ethereal quality to the landscapes and people I photographed. The nature surrounding us, often familiar and ordinary, transforms in the images into something beyond the everyday, as if taken from a different time or space. In many of the portraits, I altered my subjects' appearances by dressing them in ways that further blur the line between reality and the mystical. This act of transformation in both the landscape and portraiture allows me to present an alternative reality—one that merges the everyday with the surreal.
The use of large format film further enhances the depth of these moments, capturing intricate details and subtle textures. The large format emphasizes a slow, contemplative approach to photography, reflecting the careful thought and intention behind each image. Through this process, I seek to explore the tension between the real and imagined, inviting the viewer to step into a world that feels both familiar and strange, yet hauntingly beautiful.
Portfolio
GSU Class with Jill Frank
This body of work began as a serendipitous encounter: while walking home, I stumbled upon a scattered collection of Disney princess playing cards strewn across the street near my home. Captivated by the randomness and peculiarity of the scene, I retrieved my Hasselblad 120mm camera and tripod to meticulously document each card where it lay. I also collected the cards, preserving them as artifacts of this mysterious moment. These were printed as large photographs.
The project took on a deeper, more introspective tone as I reflected on the potential spiritual significance of the cards. I delved into the symbolism of numbers, researching their meanings and consulting psychics to decipher what the order of the photographed cards might represent. Could these cards be foretelling a fortune? Were they a message from the universe? These questions lingered, fueling my curiosity and sparking a personal exploration into the nature of superstition, fate, and chance.
I became fascinated with the idea of choices and the unknown, wondering if these cards were a mirror of life's unpredictability or a cryptic narrative waiting to be uncovered. As time passed, I began documenting other moments and objects that evoked a similar sense of mystery and connection to the universe, attempting to capture the threads of superstition that now seemed woven into my daily life.
This series explores the interplay of chance, fate, and intuition, inviting viewers to ponder the messages hidden in the randomness of our experiences. It asks: what are the odds, and what might the universe be trying to tell us?
Darkroom
GSU Class with Constance Thalken
This series delves into the human impact of the Flint, Michigan water crisis, a tragedy that exposed thousands to toxic water and systemic failure. Through these photographs, I sought to empathize with those affected, imagining what it might feel like to experience such profound violation. The images reflect a loss of agency—a body betrayed by the very systems designed to protect it.
By placing subjects in scenarios inspired by the crisis, I grappled with themes of contamination, vulnerability, and disintegration. Pipes and water, typically symbols of life and connection, here become agents of harm and chaos. The visual language speaks to the physical toll and the erosion of trust, mirroring the struggle of a community left to suffer in silence. There are tattoos of body parts and quotes from the victims in Michigan on the bodies of the subjects I photographed. These were all captured on my Hasselblad 120mm camera and developed in the darkroom on fiber Ilford paper.
This work is not just a reflection of anger or sadness but a call to acknowledge the weight of this violation. It is a reminder that what happened in Flint should never be forgotten, and that the cost of neglect is borne by real people, in their bodies and their lives.
Darkroom
GSU Class with Constance Thalken
In this series, I sought to evoke a sense of divinity and radiance through the creation of halos, inspired by the angelic figures in Byzantine art. Fascinated by the beauty and unique energy of certain individuals in my life, I aimed to visually capture their ethereal glow and translate it into a photographic language. The halos in Byzantine iconography symbolize a connection to the divine, and I wanted to reimagine this concept in a contemporary form.
Each photograph was made using my 120mm Hasselblad camera and printed by hand in the darkroom on large-scale fiber paper. The wire structures adorning the subjects were meticulously crafted by me, incorporating hand-wired designs, chains, and jeweled elements to emphasize their magnetic presence. These structures served as modern reinterpretations of the halos seen in historical religious art, designed to vibrate with energy and lend a tangible luminosity to the portraits.
This body of work merges traditional photographic techniques with sculptural elements, creating a dialogue between the historical and the personal, the spiritual and the material. It reflects my admiration for the extraordinary beauty I see in the people around me and seeks to elevate them to a space of reverence and mysticism.
Darkroom
GSU Class with Constance Thalken
This body of work delves into the concept of contamination and the ways in which our bodies are affected by both self-inflicted and natural pollutants. The visual narratives explore the fragility and complexity of our physical existence, as well as the consequences of intoxication and bodily constraints.
In one striking image, bananas and toilet paper are juxtaposed with a condom containing swirling ink—a metaphorical commentary on conception and the inherent vulnerabilities of our biological processes.
The image of cigarettes paired with dark ink signifies the deliberate poisoning of our own bodies, a reflection on addiction and self-destructive tendencies. Additionally, the photograph of a figure lying amidst beer bottles emphasizes the intoxicating effects of alcohol, illustrating the pervasive impact of such substances on our physical and emotional well-being.
The entire project was shot using a 120mm Hasselblad camera and brought to life in the darkroom. Each image was printed on large Ilford fiber paper.
Through this series, I seek to provoke reflection on the consequences of our actions, the vulnerabilities of the human form, and the ways in which intoxication can spread its effects throughout our lives. It is a visual exploration of the unseen effects of contamination, urging viewers to consider the profound interconnectedness of our choices and their impact on our bodies.
Darkroom
GSU Class with Constance Thalken
The diptych 'The Dog and Ass' reflects my personal struggles and emotions within the dating world. At first, the work points outward, suggesting that the people around me are the 'dogs' and 'asses.' But as I reflect deeper, the images explore the idea that these qualities might also be within myself. This project uses humor and vulnerability to examine my own inner conflicts and relationships. Shot on a Hasselblad camera with 120mm film and printed on fiber Ilford paper,.
Digital Photography
GSU Class with Kate Cunningham
In this project, I used heavy compositing in Photoshop to create layered, dynamic images that explore themes of migration, inclusion, and belonging. I photographed individuals at street festivals and parades and carefully layered them into constructed scenes, paying close attention to lighting, shadows, and compositional balance. Through this process, I aimed to convey a narrative of protest and unity, incorporating signs like "No Human is Illegal" and "Who Lives Here Belongs Here." This work combines my technical skills with my desire to address social issues, creating visuals that challenge viewers to reflect on systemic barriers and the universal need for belonging.
Intro to Photography
GSU Class with Jill Frank
This series explores the emotional and social dynamics of living within a fabricated reality. By purchasing a mannequin and integrating her into my life, I examined the unsettling spaces that arise in relationships that lack authenticity. The mannequin symbolizes the false sense of connection we may feel when surrounded by individuals or environments where we cannot be genuine.
In each scene, the mannequin is both present and absent—physically there, yet emotionally and relationally hollow. The people around her appear at ease, unaware of her artificiality, while she remains perpetually out of place, embodying a “fake reality.” This tension highlights the contrast between comfort in appearances and the discomfort of deeper truths.
Through these images, I invite viewers to reflect on the roles of authenticity, vulnerability, and disconnection in their own lives. What does it mean to share space with something—or someone—that isn’t real? And how often do we find ourselves participating in relationships that feel just as empty?
Silver Gelatin Prints
2015-2018
Below are silver gelatin prints I made these between 2015-2018. I was mostly using 35mm Ilford film. I was also using Ilford paper mostly RC and some fiber prints. I wanted to print as much as possible I remember paper being expensive so I mostly used RC. Most of these were made in the darkroom at Georgia State Perimeter College, this was before I got into my BFA photography program. After a while I started developing at home. Most of these are 8x10 and some are 8.5x11 inches. I was ambitious during this time I was fascinated by the laboratory process of photography development. I wanted to photograph everything and bring it into the lab I wanted to capture as much as I could on film. My understanding of photography wasn't as complex as it is today I was more free natured then. I was addicted to this process, but my photography work lacked conceptualism. I didn't know what it meant to have more thought and mind into a photograph, I just wanted to capture and not think.
Early Childhood Photography
2000-2009
35mm
These images from my childhood, taken in New York City and California between 2000 and 2009, reflect my youthful curiosity and a sense of wonder about the built environment and the North American landscape. Shot on 35mm color film, these photographs document my personal exploration of urban life, iconic architecture, and everyday moments.
Through this collection, I was discovering the magnitude and intimacy of the American cityscape for the first time. I found myself drawn to landmarks, street scenes, and the unique details that make up the fabric of a city. My fascination with architecture and structure began to take root here, as I started to notice how these spaces interacted with the people who inhabited them.
Looking back on these images, I see my younger self searching for meaning in the world around me. They capture a time when I was exploring not only what America had to offer but also my own sense of place within it. This series feels like a time capsule of innocence and discovery.