I've had a camera in my hands off and on for nearly twenty years. I returned to the camera in 2024, after a four-year hiatus, in order to communicate obliquely, using imagery as a mode of expressing what direct address and circumstance wouldn't permit; I ended up generating a body of work that speaks to how we're all being communicated at obliquely all the time.

My ongoing in-camera double-exposure project, INTERSTICES: Ghosts of Disparate Reconciliations, feeds the conglomerate language of post-capitalist consumerist culture — slogans and logos, faces with preternatural smiles (often reduced to their most elemental symbology of watchful eyes and unctuous grins), signage that addresses you as consumer and commodity simultaneously, the landscapes and hollow geometries of space — through the same emulsion-based process, which I’ve lovingly dubbed The Machine. With equal reverence for the natural and manmade, for the profound and banal, I ultimately strive for the Hyperbanal, in which the inundation of ubiquitous communication becomes masticated and regurgitated, only to itself become yet another consumable product. These images emerge from a landscape that is itself always watching, thus forming a conversation with the panopticon: rendering visible the subliminal bombardment cloaked as commerce. Occasionally a counter-current emerges, frames in which nature and the elements creep back in, consuming the commercial in much the same way the commercial consumes everything else.

I exclusively shoot on 35mm film (except when commissioned for an occasional wedding or professional headshot session etc.); all editing is done in Lightroom, and limited to what a darkroom could approximate. I primarily shoot on Harman brand film. I adore the quality of their film’s emulsions, grain, colors, textures, but I also feel a resonance with Harman’s company story: having manufactured only black-and-white film for generations, they recently began venturing into the color film market, unafraid to embrace the experimental and re-invent themselves later in life. (Sound familiar?) Initially my project was predicated upon randomness, feeding images into The Machine with no preconceived notions for which two would align; I then began embracing intentionality in my pairings, though the ways in which the two layers intersect, via the medium, remain beyond my grasp. The images shown here are comprised of both methods: the surrendered and the sculpted.

I divide my time between Sacramento, the Bay Area, and Los Angeles. When I’m not making images, I’m a Circling and Relational Group Facilitator, a one-on-one somatically-based life coach, a Rolfer, a musician and music aficionado, and a dad to a twelve year old.