Slow Drift explores landscapes connected to legacies of enslavement, land modification and development that have shaped the environmental history and collective memory of Maryland and Virginia. Using photography, alternative processes and sound, the work unearths histories in suburban spaces and rural sites that were former tobacco plantations in Montgomery, Howard, Baltimore County, Queen Anne and Kent Counties. The work explores environmental damage, the violence of suburban development and the possibilities for new relationships and ideas of how we relate to American land and climate change. The work has been mademade using non-lens processes, archives, and large format photography.  Each image traverses history through large format photographs, non-lens processes, medium format photography, and archives.

first last light ruminates on how the earth holds time, keeping a record of its own histories through fossils, waterways, soil, and the shifting atmospheric qualities of a place. I began photographing this series during the quiet moments I sought throughout the pandemic, thinking about how fragile and porous our bodies are, embedded in the environment and built places. This work threads dreams and myths, the drama of living, the unpredictability of the weather, data collection, detritus left in public parks, and the life cycles of plants, rocks and animals. 

Traditional landscape photography frames nature as an aesthetic resource, with looking and possessing closely entwined. Instead, these works consider the reciprocity of attuning to place and the influences that pervade the living world. Through my work in Full Circle’s color darkroom and informed by the research of friend and collaborator Alica Puglionesi, the hues, light and qualities of color in these images also began to tell a story. This work for me is about redefining relationships with nature, land and people and questioning habitual ways of knowing and perception. 

The text by Alicia Puglionesi that accompanies these images is repurposed from William and Elizabeth Denton’s The Soul of Things (1863; 1874), and reflects on the Dentons’ purported mediumistic ability to read the past inscribed within materials.

This installation was performed with members of Raw Silk. Made from a 100-foot roll of 16mm film shot in the Walters Art museum, the objects seen in the film were illuminated with conservation-appropriate lighting. The footage maps archaeological eras through chronological and proportional 16mm footage -- each frame of the film represents approximately 1.6 years. The emulsion was then subjected to processes like bleaching, burying, soaking and scratching inspired by technological, geographic or geological events associated with archaeological periods and eras dating back to 4500 BCE (the age of the oldest object documented in the film.) (Camera/Editor/Director)

A short documentary about places and traces -- abstracted phone booths become increasingly legible as the catalog of information about a father and son grows. This piece asks us to consider the nature of the artifacts we leave behind, particularly audio voicemails, a digital artifact, recorded and performed, with expectation of being quickly deleted.  (Camera/Editor/Director)