Nights as inexorable as the sea (2017-)
Dreams are quirky phenomena. Existing in that liminal space we are confronted with situations we can’t quite explain, often fraught with absurdities and illogical occurrences. They challenge the delicate balance between perception and the subconscious mind.
legally blind (2013-)
The series Legally Blind presents out-of-focus, brightly colored landscape pictures in order to visualize what my late mother, who was legally blind, might have seen when she looked at the landscape.
i, orfeo (2015-2018)
I, Orfeo explores my memory of an emotionally-charged personal event. The monotone photographs, which appear rough and dreamlike, capture the imperfection and ambiguous nature of our visual memories.
Self-Exposure walks the line between reality and artifice; between soul searching and social commentary. Although each image is an introspective and expressive look at my own persona, each is also a critique of commonly held societal beliefs about feminine identity and contemporary expectations of women.
socially Speaking (2016-17)
Social media is a mixed blessing. It allows us to connect to friends from the past and to make new ones who have common interests. However, it brings a share of heartburn as well. Hot on the heels of a rejection, we learn friends have had success at the same endeavor. We want to celebrate for them, but we are in the midst of a bout of self-doubt, self-flagellation, self-pity. Social media sometimes exacerbates these wounds, as we may learn of our perceived failure only by seeing a friend’s celebration.
Swimmers is a long term project in the early stages.
bodies in motion (2015)
These images, which I consider street photography, were all shot at the beach in Waikiki fronting the OutRigger Reef Hotel. It was shot using the iPhone 5s with the Moment Telephoto lens attached, which allowed me to stay back on my beach lounge chair and very unobtrusively get “up close and personal” with the people who did not know they were being photographed. I've also utilized odd gestural positioning to speak to "recent" contemporary art history, most specifically the 1987 body of work by Robert Longo called "Men in Cities."