Since my husband’s death in January 2022 from pancreatic cancer, walking has been a way to process my grief. On my walks following his passing, I searched for and collected spring ephemerals emerging from the forest floor. I was foraging for signs of life after a difficult winter and as I navigate my new life. 
 
Using the cyano-lumen process, I dip the foraged plants in cyanotype solution and then arrange them on expired black and white photo paper found in my studio, giving this old paper new life. The photo paper is then exposed, not in a darkroom, but outside using the ultraviolet light of the sun. The cyano-lumens that result are not fixed and will eventually change over time. 
 
The slow, meditative process of foraging for plants and the long process of exposing the paper outdoors in changing weather and lighting conditions, requires me to give up control. It is full of surprises and serendipity, and a meditation on the beauty of impermanence.

Walking is an integral part of my creative process. During the pandemic winter, my daily walking practice became a refuge from the incredible loss we’ve experienced since March 2020. 

As winter turned to spring, my daily walks took me to places I know well and frequent often. My familiarity with these places allowed for a deeper observation of the passing of time and nature’s renewal. Inspired by historical botanical illustrations of flowering trees, the Equinox series was photographed in the field by creating a makeshift studio using a backdrop to isolate the flowers. The Equinox series is a meditation on nature's beauty as a refuge from loss. As we begin to step into a post-pandemic world, may we discover signs of hope and our collective renewal.

Each image in the series is printed with archival pigments on traditional Japanese Washi Unryu paper. The long course fibers of the paper add an ethereal dimension to each print.

Walking has always been an integral part of my creative process. During this pandemic winter, my walking practice became a refuge from loss—the loss of over 500,000 American lives from Covid-19, the loss of social norms, the loss of physical connections to family and friends, and the loss of my day job in January 2021. 
 
My daily winter walks took me to places I know well and frequent often. My familiarity with these places allowed for deeper observation. As I walked, I discovered artifacts of passing time in the snow and ice. These artifacts were photographed undisturbed as I found them, with snow and ice acting as a natural backdrop. 
 
Inspired by the Japanese aesthetic of wabi-sabi, the Everything Passes series is a meditation on loss and impermanence. It is a recognition that both life and art are beautiful not because they are perfect and eternal, but because they are imperfect and fleeting.
 
Each image in the series is part of a grid of nine and printed with archival pigments on traditional Japanese Kozo Unryu paper. The long course fibers of the paper add an ethereal dimension to each print. 

The Tidal Dreams series explores the concept of wilderness in the urban environment and challenges our perception of Baltimore’s urban landscape. 
 
This series was photographed at Black Marsh Natural Area on the east side of Baltimore, on property once owned by the Bethlehem Steel Company. The property was once used as a hunting preserve for the steel company’s executives. For almost a century, the Bethlehem Steel Company was one Baltimore’s biggest employers and one of the northern Chesapeake Bay’s biggest polluters; yet, they were good stewards of this particular place. When Bethlehem Steel closed, they sold the property for 5.3 million dollars to the state of Maryland. 
 
Black Marsh Natural Area is considered one of the finest examples of a tidal marsh on the upper Chesapeake Bay, despite being surrounded by an industrial, urban environment. It’s a landscape of memories, and a reminder of what the natural landscape of Baltimore was like prior to industrialization. Climate change, rising sea levels and surrounding development threaten this fragile ecosystem home to native wetland plants and rare, threatened or endangered birds.
 
The series’ richly layered landscapes blur the lines between fantasy and reality. They are printed on translucent vellum and backed with white gold or silver leaf, giving the intimate prints dimension, luminosity, and a little bit of magic.

The Tidal Dreams series was exhibited in March 2019 at Project 1628 in Baltimore. Two pieces from the Tidal Dream series are part of the permanent colleaction of the Fort Wayne Museum of Art. 

The Tidal Dreams series explores the concept of wilderness in the urban environment and challenges our perception of Baltimore’s urban landscape. 
 
This series was photographed at Black Marsh Natural Area on the east side of Baltimore, on property once owned by the Bethlehem Steel Company. The property was once used as a hunting preserve for the steel company’s executives. For almost a century, the Bethlehem Steel Company was one Baltimore’s biggest employers and one of the northern Chesapeake Bay’s biggest polluters; yet, they were good stewards of this particular place. When Bethlehem Steel closed, they sold the property for 5.3 million dollars to the state of Maryland. 
 
Black Marsh Natural Area is considered one of the finest examples of a tidal marsh on the upper Chesapeake Bay, despite being surrounded by an industrial, urban environment. It’s a landscape of memories, and a reminder of what the natural landscape of Baltimore was like prior to industrialization. Climate change, rising sea levels and surrounding development threaten this fragile ecosystem home to native wetland plants and rare, threatened or endangered birds.
 
The series’ richly layered landscapes blur the lines between fantasy and reality. They are printed on translucent vellum and backed with white gold or silver leaf, giving the intimate prints dimension, luminosity, and a little bit of magic.

The Tidal Dreams series was exhibited in March 2019 at Project 1628 in Baltimore.

The Tidal Dreams series explores the concept of wilderness in the urban environment and challenges our perception of Baltimore’s urban landscape. 
 
This series was photographed at Black Marsh Natural Area on the east side of Baltimore, on property once owned by the Bethlehem Steel Company. The property was once used as a hunting preserve for the steel company’s executives. For almost a century, the Bethlehem Steel Company was one Baltimore’s biggest employers and one of the northern Chesapeake Bay’s biggest polluters; yet, they were good stewards of this particular place. When Bethlehem Steel closed, they sold the property for 5.3 million dollars to the state of Maryland. 
 
Black Marsh Natural Area is considered one of the finest examples of a tidal marsh on the upper Chesapeake Bay, despite being surrounded by an industrial, urban environment. It’s a landscape of memories, and a reminder of what the natural landscape of Baltimore was like prior to industrialization. Climate change, rising sea levels and surrounding development threaten this fragile ecosystem home to native wetland plants and rare, threatened or endangered birds.
 
The series’ richly layered landscapes blur the lines between fantasy and reality. They are printed on translucent vellum and backed with white gold or silver leaf, giving the intimate prints dimension, luminosity, and a little bit of magic.

The Tidal Dreams series was exhibited in March 2019 at Project 1628 in Baltimore.

All of us have a deep connection to certain places. We see these places not as they are, but idealize them through our memories.

I draw my inspiration from 19th century landscape painting ranging from Thomas Cole, George Innes and The Hudson River School painters. Similar to these painters, I interpret the landscape and how it affects me emotionally and spiritually. My approach is not about capturing reality, but creating a neo-Romantic world reflective of my memory and imagination.

The Emotional Landscape was exhibited at the Griffin Museum of Photography in Stoneham, Massachussets from July-October 2018.