Places of Sense(s)
Place of Sense(s) examines remote landscapes on the verge of great changes due to rapid development in rural areas of Georgia, Mississippi and Maine. All of the images made in this series are created using the wet plate collodion process and reflect the untouched beauty of these regions and the chemical response between the wet plate collodion chemicals and the extreme heat that was experienced during the summer of 2019.
Fog, Smoke, Horizons
Fog, Smoke, Horizons is a re-creation of specific memories I have had while on land and at sea. The ephemeral elements of weather such as rain, fog and snow, have always been indicators of time and place in the landscape. In each image the horizon is ever present working in conjunction with the visual effects of weather such as fog, rain and snow to create a sense of ambiguity in the unknown landscape.
Each one of a kind print is made using encaustic wax poured over the surface of an archival digital print and then manipulated to achieve ambiguity in the landscape.
Light Transcended describes fleeting moments, defined by light and time, which occur in our daily lives. These moments can be as simple as the morning light that grazes the top of my daughters’ head, or the sun setting and rising. Light has the potential to turn the unfamiliar into the familiar and for a brief period it can transport us to an unnamed place that is simultaneously old and new, all over again.
Southern Oceans imagines manmade reservoirs and constructed water spaces as the oceans of the south. With this project, I am interested photography’s potential to defamiliarize the harnessed water of enormous public-works projects, transforming them into newly imagined landscapes.
The New South Project: India, Cuba and the Deep Southern US
I believe that the landscape affects the human connection to place, which in turn shapes our identity. Living in geographically diverse places, I have been most affected by complicated and unfamiliar landscapes that force me to contemplate the role that politics and technology have on developing place.
The landscapes of the deep south of the United States—divided by race, gender and the environment—make finding the connections between origins, place and colonialism fascinating.
The technological landscape of contemporary India—a developing place established as a result of post-colonial domination—invite us to contemplate the role that technology plays in changing the many faces of the Global South.
The New South Project is focused on making transnational comparisons in regions throughout the Global South as a way to connect local and regional areas of the global south to international ones to emphasize the interconnectedness of them all.
What Remains takes an intimate look into the lives, people and landscapes of my southern family. I am not originally from the south and I have often felt like an outsider living in this mysterious, complicated place but I have found my home here by looking at universal elements that occur in our everyday lives. Sunday dinners, deer and quail hunts, bbq’s, dress up with my daughter and ice on the old ford truck, are all subjects of this project and describe specific moments that create awe in the everyday. This intimate portrait of the south reveals the similarities of place at a time when divisiveness and otherness often feel central to our national identity.
Southern Revival focuses on the ways that religion and the land come to shape identities in the south. These images are made by combining archival glass slides, of a religious revival camp, with digital photographs that I've taken throughout the deep south. I'm particularly interested in the way landscape and place come to shape our personal and regional identities.
Historically, postcards have served as the first introduction one has of specific locations around the world. They have been integral to the way we have learned about distant landscapes and play an integral role in establishing the idea of place in our culture.
Erasure uses archival slides and postcards and investigates the changing landscapes involved and associated with tourism.
Embodied Cartographies looks at the landscape through the lens of an embodied experience of place versus a virtual one. Using technology, such as Google maps, I virtually visit places before traveling to them and re-visit them once I have returned home.I then analyze the concept of an embodied experience versus a virtual one by comparing the photographs I take on location with the Google images I find on-line.
The role of the traveler has always consisted of border crossings. Be it by boat, air, train, animal or automobile. I argue that we are all destined for some type of border crossing no matter where we are nor if we are physically traveling. Today’s borders have become increasingly harder to define, especially when looking at them through technology’s lens.
Through the eyes of a white female traveler, the animals of East Africa and landscapes as diverse as Maine to Uganda, Border Crossings investigates the role that borders and migration play in the lives of both human and animal.
Delta Constant looks at five main delta regions around the globe including the MS in the US, Orinoco in Venezuela, Tana in Kenya, the Mekong in Vietnam and the Ganges in India. Delta Constant looks at the ways that developing delta regions around the world are dealing with agricultural and economic developments that are forever changing the landscapes and people of those regions.