In the Sierra Nevada mountain range in California, USA, yearly wildfires represent a devastating microcosm of a larger system in peril; as climate change becomes a more threatening reality, fire is ever-present. But the ancient sequoia redwoods of this region have a surprising relationship with fire - they may not exist without it. Wildfires liberate sequoia seeds from their melted, resin-encased cones, allowing for regeneration and proliferation of the species. “Sequoia Skin 01” is part of a tetraptych of photographs depicting the sequoia redwood, abstracted and unrecognizable. These silver gelatin prints underwent a bleach-etch process that lifts and distorts the photoemulsion: a parallel to a wildfire’s calcination and disfiguration of the giant sequoia, and the process of environmental matyrdom the trees undergo. The original entity is sacrificed for the proliferation of its species; one entity becomes another.
The most essential material in my process is the element of chance.Though my art practice varies in medium -- alternative process photography, found assemblage, ritual performance, and sound -- projects consistently take root in randomness and synchronicity. By using site-specific and delicate photochemistry, found objects, field recordings, and recycled materials, my process is determined by a unique point on the axis of timing and location. Stumbling upon an interesting trash pile, spontaneously altering a photochemical technique, and encountering an unanticipated sound are crucial moments in my process. I welcome accidents, mistakes, coincidence, and error. I believe randomness is a counterweight to automation.In my photography practice, I am most interested in alternative processes like Mordançage, chemigram, and photogram, which lend to unpredictable and unrepeatable results. I explore subjects that are similarly ephemeral or impermanent -- growth and decay, humans’ complicated relationship with the planet, and paradox found in nature.I often view my work as an Earth-based visual meditation or modern Rorschach test, inviting the viewer into inner contemplation. From this meditative point-zero, a viewer may be called into empathy for the simultaneous fragility and power of the natural world. In this sense, my work is environmentally conservationist in motivation. I enjoy anthropomorphizing inanimate flora, geology, precipitation, and human-made detritus to point at and exaggerate the vibrant aliveness in all things.