To Whitefish and Back chronicles a road trip with my youngest sister to the northern United States, to Whitefish, MT. These images, while personally sentimental, speak to a broader truth of experiencing traveling for the first time and feeling the perspective that mountains bring. They document the disappearing glaciers, stunning grasslands cluttered with trash, and the confusion and hurt about the state of the earth. Wonder, fearlessness, and reflection of life's purpose and intent come to a head and open the question of where to go from here. 

The Days That End in Why

The Days that End in Why came from a stupor, from photographing to photograph while drowning myself in sex, drugs, and perfecting the art of avoidance. It was a survival tactic that anchored me to the present moment while everything felt like it was happening to someone else. I photographed because I didn’t know what to make pictures of but I knew I needed to make pictures. See need, not want. I kept photographing and posting drafted edits online, almost as a meditation.

Click, load, post. ROLL THAT BLUNT. Click, load, post. TAKE A DRAG.

Although I wasn’t sure what was happening but I kept making pictures. The pull of making them was stronger than not making them. A pattern appeared as I struggled with these images’ relevance and significance, with what they have to say. In a sleep-deprived epiphany, I realized the work practically screams that life is really crazy and these pictures get it. They get the small humors, they get the weird moments, they get the struggle of getting through days that never seem to end. They get the beauty and value in the ugly and uncomfortable we’re all too good at pushing away. They get hilarious paradox of living in this crazy, beautiful, confusing, awesome world. They have the equivalent of the goosebumps from a random song, the feeling of floating in time and space during the two seconds after particularly intense bong hit. They highlight photography’s ability to record visual information with extreme accuracy.


So to answer that gut-wrenching question: Why make these photographs?

Because life is too fucking funny not to.

A Study of the Body's Interaction and Environment

In The Faraway Nearby, Rebecca Solnit says, “To become a maker is to make the world for others, not only the material world but the world of ideas that rules over the material world, the dreams we dream and inhabit together.”

This process of becoming a maker is being an artist and for me, being a photographer. These dreams that we inhabit are a bit different for each person. These differences can be how we interpret and react to our surroundings. These reactions we can call body language and the surroundings we can call the environment. The dreams Solnit speaks of can be ideals and goals and the reality that we are striving for, or in other words, our everyday life. These are they things that I wanted to capture. The body language and the interaction with the environment. This is my project.

A Study of the Body’s Interaction and Environment, I wanted to examine the small nuances of everyday body language. As I was photographing, I kept picking up on little details. Chipped toe nail polish, rings, and the patterns of the backgrounds all contributed to what I was trying to capture. As I started focusing on that, I found that photographing tighter in on hands and feet was where my project was. People don’t necessarily notice what they are doing with their hands and feet because they’re such a given in everyday life. We use them every day and don’t give a second thought to different tics we have and how they change with our environment. That is what I photographed.