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 appropriation and collage; installation; bookmaking.
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 document, reveal, criticize and engender change.
Yet in our contemporary media landscape the meaning of pictures has come to depend less on authorial intent while being increasingly shaped by the reader’s personal contexts, beliefs, knowledge, or agenda. Therefore, in my creative practice I am more interested in the polysemic nature of photographs – particularly when presented in multi-image groups, installations and sequences – than making didactic, single works of art. Through building relationships between multiple images, fashioning literary and art historical references, and forming ad hoc metaphors, my goal is to create possibilities for narratives that challenge viewers and encourage contemplative self-reflection. My images are often augmented by text – including captions, narrative passages, personal reflection, or academic analysis – that illuminates, contextualizes, or complicates the work.
Discontent with conventional solitary approaches to photography, I have recently sought opportunities to expand my practice through collaborative partnerships. By working with fellow artists, filmmakers, musicians, and social scientists, I have discovered fertile ground in which to engage in trans-disciplinary topics, learn and apply new research methods, and question assumed values of the photographic discipline.
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. While my artistic practice includes a myriad of photographic strategies, my work is consistently imbued with my personal history and identity of place. With each project my choice of media process and craft serves greater content and conceptual goals while actively questioning assumed values in historical photographic discourse and engaging in social, political, or cultural critique.
Ongoing projects: Good Bad People; Where You Come From is Gone; One Day Projects