WHO?
Obsessed gesture watcher, Texan, retired child ballet dancer (highlight of child dancing career was performing as a Mother Gigogne clown in The Nutcracker), very light sensitive, regularly contemplate if I should have been an architect, photography professor, kind-hearted/tough grader. I work on time-based projects, sometimes for over a decade.
WHAT?
From a somewhat insular childhood on the ballet bar in one uniform to the all-girls Catholic School in another, I was regularly confronted with various facets of performance both on stage and off. I abruptly withdrew from a career pursuit in dance and started over when I was eighteen. I was then lucky enough to find a choreographic voice in photography. The camera invited me to become an audience member, to observe unlikely spaces of performance. The rectangular frame helps me find my stage, and then respond to activated pedestrian spaces that encourage the performer in us all.
WHERE?
I discovered what photography is capable of while studying in New Orleans, deepened my relationship with it in New York City, continue to fall back in love with it every summer in Rome, and have returned to the American South to explore new spaces of performance.
WHEN?
Photography is always on my mind. If I’m not photographing, I’m studying it. If I’m not studying it, I’m teaching it. If I’m not teaching it, I’m talking to others about it. If I’m not talking to others about it, I’m editing, printing, or framing it. It’s my greatest companion and a puzzle I can’t quite solve.
WHY?
Mostly to marvel at the world. To shelter me when attempting something seemingly illogical. To quietly critique. To hold empathy close. To admire humanity and to find moments of faith in our collective consciousness.
