ABOUT ME
I tend to move through life in pieces — held in parallel, sometimes contradictory containers. Photography is where those pieces soften and speak to one another. It’s where things come into focus not by force, but by attention.
My voice emerged most fully through self-portraiture while documenting my last pregnancy. Photographing myself became an act of presence — a way of witnessing transformation as it unfolded, before language arrived.
That work reshaped how I understand my body, my life, and the act of being seen. Photography remains the place I return to make sense of what I’m living, without needing to explain it.
MY WORK LIVES WITHIN THE FRAGMENTS.
Between the roles we hold and the selves we carry quietly.
Between the seen and the sensed.
Over the years — while raising children, moving through seasons of change, and burning through rolls of film — I’ve learned that creating isn’t about control or perfection. It’s about staying awake.
Some days, that looks like chasing an inner thought.
Other days it looks like dinner on the table and film drying in the bathroom.
Both belong.
HOW I WORK IS FLUID BY DESIGN.
My work lives between documentary and editorial.
Some sessions are shaped by a loose concept — a question, a mood, a feeling that wants form. Others are entirely documentary, guided by whatever unfolds. Most exist somewhere in between, responding in real time to what’s present.
I offer direction when it supports the image.
I step back when something honest is happening on its own.
I’m interested in what can’t be staged — the pause, the glance, the emotional current beneath the surface.
FILM SLOWS EVERYTHING DOWN.
I work exclusively with film not out of nostalgia, but necessity. Film asks for commitment. It resists correction. It keeps me — and the people I photograph — inside the moment a little longer.
After the session, the work continues. Each roll is developed, scanned, and digitized with care. I pay close attention to tone, texture, and rhythm, allowing the material qualities of the medium to remain intact.
From there, I curate with intention. I’m not interested in showing everything. I’m interested in shaping meaning.
TURNING INWARD.
Much of my work begins before language — as sensation, memory, or something half-felt. Through self-portraiture, I return to those moments and sit with them longer than real time allows. The mirror becomes a collaborator, a way of seeing myself without fixing or resolving what I find. I’m less interested in clarity than in recognition — holding what is fleeting up to the light, turning it slowly, and allowing it to remain unfinished.
