I have found that, despite my compulsion to be a constant collector of things – that my collections need time to be fully understood, felt, and appreciated.Read More
It seems lately that I am finally able to catch up with myself in the strangest of ways. I am slowing down, thinking about and doing only what is most important to me, spending time with those I haven't crossed paths with in years or those who have just crossed my path and stayed firmly in it for whatever reason.
And in this process I am examining vernacular artifacts, ephemera long-enough outdated to qualify as "old pictures." Some rolls just never got processed, some film never scanned, some simply forgotten in a box, only resurfacing because I am spending so much of my time in studio practice, allowing myself to be slow and thoughtful, remembering being given permission for my studio practice to be whatever I was doing in the studio at that time, in that moment, right then. Right now, my studio practice is in the taxonomy of memory with regard to human interaction and geography.
Vernacular photography is the creation of photographs, usually by amateur or unknown photographers both professional and amateur, who take everyday life and common things as subjects.
.. here are some of my favorite, recent, old, pictures:
the Black & Whites: Ilford 100 Delta Pro damaged by salt water / the Color: CR100 (both rolls Summer 2012) / unedited
Cities have a particular cultural landscape, and chronology is accessible in surprising contexts.Read More
I've been working on an ongoing series since my move back to MA in 2010 on the North Shore, and Route 1 specifically. In preparation for my trip up North for the next few weeks I've been sequencing some of my favorite pictures, and thinking about where I want to make photographs while I'm there. This triptych is from a section of Route 1 (Newbury St.) between Peabody and Lynnfield.
A nomadic trajectory of inquiry invites a consideration onto each of our own relationships to the wayfinding of our youth.Read More
unmowed, behind the fruit trees // Martina Franca, Taranto, Italy // 2014
Now is the time for editing, sequencing, and making some work tangible.Read More
A few weeks ago I took a walk in Maudslay State Park under the supermoon with some old friends and some new ones. I'm never quite prepared for how exquisite a very full moon is, and how the silvery light casts chiaroscuro shadows and illuminates everything. I was also unprepared for how immensely full the Merrimack River was. So swollen from the pull of the close moon, the river was high and fast, carrying huge branches and whole trees and debris. Ever a fan of night exposures, I made some long exposures on our walk.
My nice and nephew, fresh out of the ocean, explored our beach house and let me photograph their adventures. The little house we rented for a few weeks is on the coast between Pulsano and Monti D'arena-bosco Caggione in Taranto, which is a quiet little area fairly devoid of tourists. It was also excellent for sea glass collecting, but more on that later.
I met a woman on the bus from Rome to Martina Franca who couldn't have been less than 80 years old and was so enamored with my embroidery that it prompted her to chatter non-stop for hours in Italian to me knowing that I could only understand about a tenth of what she was saying. She told jokes which had punchlines I couldn't translate, held my hands emphatically, and grasped my face while saying "bella, bella" over and over. After losing two grandmother figures in the last month, this love found in the most unexpected place was nothing short of miraculous.
double exposure - holga - kodak 400 ISO 120mm - joshua tree - april 2013
(my sweet man just got me a new negative scanner, and i am so excited I can hardly stand it. thank you, ryan)
(Full Post on B. upcoming as soon as I get my film developed!)