As a White House Photo Editor I had a front row seat to history. From photographs of President George W. Bush standing atop the rubble of the World Trade Center to images of President Barack Obama monitoring the raid on Osama Bin Laden, I have touched consequential pictures and witnessed firsthand the power of photographs to bear witness, connect communities, and catalyze change.
Yet conventional documentary approaches have also perpetuated patriarchal power structures, reinforced stereotypes, and objectified marginalized peoples. As a concerned citizen and artist – and as a person of privilege – I have a responsibility to critically confront these problematic traditions while pursuing authentic, ethical relationships with the people and places represented in my work. By establishing collaborative partnerships with community members built on empathy and mutual trust, my images are positioned to serve as evidence of ongoing conversations and personal discoveries that encourage understanding, challenge presumptions, and connect participants and viewers through common experience and shared stories.
Aesthetically my work is rooted in my lifelong exposure to the landscapes, people, and customs of American South, and I am drawn to the unique vernacular language and tradition of storytelling that exists here. By utilizing a range of photographic tactics, building relationships between image/text, and mining literary and art historical references, my goal is to create possibilities for thoughtful narratives which engage the South’s complex culture, history, and identity of place.
Current methodologies and research interests: fine art and documentary photography and photojournalism; social-engaged practice and interdisciplinary collaboration; traditional darkroom, digital, and alternative processes; photographic history; image/text relationships; appropriation and collage; installation; bookmaking.
Recent and ongoing projects: Do Good Artist-in-Residence; Hellbender; Where You Come From is Gone; One Day Projects