Failure is Becoming, 2014
Collage
Handmade Ilfochrome print on Dibond (from iterative screen-based rephotography, transferred to 8×10 film)
66 × 25 in (167.6 × 63.5 cm)
Unique + 1 AP
Edition fully placed
Failure is Becoming, 2014 is a collage comprised of vernacular photographs of the streets of Lower Manhattan, rephotography of computer monitors, and a unique handmade darkroom printing process. During the course of this work, required computational processes met the limit of their capabilities, resulting in crash screens, glitches, wireframes and other errors. All aforementioned were photographically reingested and incorporated, as a literal and figurative attempt at rescuing the work, until a new composition was reached. As a final transformation, the collage was transferred to 8x10 film, and a unique print was made by hand from this transparency.
Extruded Skyline (ALT), 2010
Fujiflex print on Dibond (composed entirely in-camera)
50 × 33 in (127 × 84.7 cm)
This photograph harnesses the kinetic force of the urban night, transforming city lights into radiating vectors of color and motion. Created entirely in-camera, the image captures a dynamic interplay between movement, time, and luminous architecture—evoking both the energy of the metropolis and a sense of cosmic expansion. No digital manipulation was used beyond color correction; all visual effects were achieved at the moment of capture, resulting in a work that blurs the line between representation and abstraction.
Nexus, 2013
Ilfochrome print on Dibond (composed entirely in-camera; no digital post-production)
50 × 70 in (127 × 177.8 cm)
Edition of 2 + 2 AP
Edition fully placed
Nexus, 2013 is part of an ongoing investigation of gesture and mark-making using photographic processes only. In this work, vernacular images of the sky are collaged, in-situ, using the camera only, as well as chance, to draw with and remix elements of nature until the desired composition is reached.
The Trees, 2012
Handmade Ilfochrome print (composed entirely in-camera; no digital post-production)
46 × 64 in (116.8 × 162.6 cm)
The Trees, 2012, is a series of unique, in-camera photographs exploring the intersection of gesture, stillness, and time in lens-based image-making. Each image is composed through live optical motion using a digital camera, then transferred to 8×10 film and printed by hand as Ilfochromes. The result is a durational imprint—photography as performance, structure, and trace.
Geometrodynamics, 2019
Diptych, chromogenic prints (composed entirely in-camera; no digital post-production), in artist framing
Each panel: 41 × 34 in (104.1 × 86.4 cm)
These works explore the unseen structures and temporal complexities of our world through formal challenges to the photographic medium itself. Geometrodynamics #1 and #2 were composed entirely in-camera using a series of experimental techniques that stretch the boundaries of what photography can be while remaining fundamentally indexical. The title references theoretical models in physics that attempt to describe all universal forces in geometrical terms.