Working within and between the still and moving image, my projects explore the role of these media in shaping personal and social understandings of our environment(s). Using photographic methods as observational tools, I respond to sites and situations where human and more-than-human lives entangle, often drawing on grief and despair as generative modes of being. Combining a documentary approach with direct intervention, my process incorporates multiple reproductive methods including analog and digital imaging, film, and video. Recording both routine and remarkable encounters, I visualize the cohabitation of species as a collective endeavor.

Recognizing my response-abilities as a white woman from settler ancestry I approach land and water tentatively, as an uninvited guest. Sensitive to the role of landscape photography in perpetuating colonial mythologies, I made a deliberate decision in recent years to supplement camera-based images with (potentially) less mediated photographic processes including cyanotype prints and other UV-light sensitive techniques. These durational methods require long exposure times relying on direct contact with physical material to produce an imprint, allowing for prolonged engagement. I create these images as one way of seeking a deeper, more embodied connection to the mass of life that surrounds us.

My observations become re-presentations, transformed and replicated as sequential and composite screen and print-based forms, stressing the fragmentary nature of perceptual response. The ephemerality of physical elements made intangible through film and video recording differs from the printed reproduction – a stable frame that persists, suggesting all matter is sound enough to endure inevitable and relentless shifts, however benign or catastrophic. As we struggle to orient ourselves within a shared global space that is rapidly transforming, I find uneasy comfort in visualizing our lived and perceived world as one of repeated disappearance and return.