I photograph, knit, draw and study the Japanese way of tea. Each of these practices and my degree in philosophy informs my art making, which includes an expertise in architectural photography. I’m obsessed with process, documentation and gestures.
Early in my career, I honed techniques in photo editing at Magnum Photos and Newsweek and in reporting/writing at the magazine and a myriad of other publications.
Since the mid-'90s, I have used my skills to document cultures in built environments and call this method archi-ethnography.
My approach breaks habits of one-point perspectives, literally and figuratively, and relies on my interpretation of the interplay of ambient light, design and movement. I seek angles that explore planar vantage points that reveal the true dynamic of people interacting with each other and the unseen energies of spaces and places.
Like with all of my practices, serendipity leads the narrative. My attunement to this rigor of chance relies on a daily practice of meditation, movement and being liminal.
Each project is unique, providing its own set of rules. I champion the one-off.
Growing up in and living most of my life in cities warped my relationship to nature. I became fascinated with its interventions, growing on and out of man-made materials. For the past several years, nature has nudged me beyond the city limits. Unclear to where.
I photographed the cloud image from a plane window over Cambodia; the water while floating in Ha Long Bay in Vietnam and the rock garden in Ryongji, a Zen temple in Kyoto. The datum of sorts revealed itself during editing. I love when that happens!
