friends+lovers, explores loss and desire, mental illness, and radical vulnerability through intimacy with a queer lens. Intimate portraits of strangers, friends, and friends that have become family. Images are made using a 4x5” view camera. Each sitting was an excuse to reconnect and spend time with someone I have loved and cared for, created during a time of intense loneliness and isolation, when I very much wanted to die. Each sitting evoked within me the full range human experience through heartache, joy, and connection. Each sitting connected me more with my chosen kin and community, and .

I was reminded how wonderful and terrible and temporary and fleeting all of this is. At the end of each session, I wished for death to come for me a little bit less. Each image is evidence of an intimate moment shared between the photographer, camera, and sitter.

Evidence that this happened.
That we were here.

And that it mattered.

* This chapter of friends+lovers, was made possible through the generous support of the art collective, Spiderweb Salon. Images were created in Denton, TX and Santa Fe, NM during artist retreat and performance for “#PLEASED.”

“Forgetting doesn’t hurt at all, but still, it is good to remember.
Remembering contains all the reasons both for joy and for sorrow, and they are often the same. ”

- Miljenko Jergović, Historijska čitanka

Inheritance, the first chapter of Evidence of Existence, includes personal creative research, exploreing themes of identity, memory, labor practices, and the human condition. Evidence of Existence illustrates the edifice of memory and invites the viewer to examine the vestiges of relationships and emotions, as well as the opposing viewpoints in our family history that plant the formation of personal identity. Works in this series include staged narratives that consider the structure of personal identity through an investigation into the significance between place and memory, and the relationship of grief and loss. This inquiry into memories of family and place present challenges for the viewer to imagine what is authentic and/or invented. Evidence of Existence addresses these key aspects of the human condition by exploring the experience of familial relationships, the impression of memory, and the impact of grief.

*All images shot on 120 Kodak Portra with a Hasselblad 500cm / drum scanned / archivally printed. Exhibition scale is 24x24”

Line of Sight, is the second chapter in the autobiographical narrative work, Evidence of Existence.

This work aims to address the human condition, through further exploration into the experience of familial relationships, the impression of memory, and the impact of grief.

This chapter focuses on the aftermath of loss. Winter is used both literally, and figuratively, as a winter is both the season of cold, and also as a metaphor for the quiet numbness left in death’s wake.

*All images shot on 120 Kodak Portra with a Hasselblad 500cm / drum scanned / archivally printed. Exhibition scale is 24x24”