Through using the elemental matter of acrylic, watercolor, bodily fluids and the darkroom, I use the materials to connect with the ethereal elements of the outside world. This focus on experimentation and chance relies upon variance in viscosity to create organic structures which mirror imagery spanning from interstellar topography to human cellular structure. By implementing the process as collaborator I venture outward to a place where the viewer can form their own narrative free of the structures of reality found within

Naturally Modified is a cameraless body of work uses light and color as instruments to reveal layers beneath the surface of our food. By utilizing color, the works abstract the viewer and remove the otherwise ordinary fruits and vegetables from their context. Rather than gravitate towards the current climate of digital, these images venture into new territory by using the old technology of the darkroom. As photography is deeply rooted in science; these images extract the camera and allow us to see the ordinary in new ways while blurring the lines between art and science.

The process begins by slicing a fruit or vegetable thinly as possible and then drying the slice before placing it between two glass plates. The glass plate is then taken into the darkroom where the image is exposed in the traditional manner and scanned to a high resolution which allows the image to be printed at a size (30x40in) immersing the viewer in the nature of color. As our food is more processed and more steps are introduced between farm and table, the color added becomes ironic with art imitating life.

Driven by motives of discovery, Collaborations with Nature is a body of work which uses water to carve the emulsion of film, creating a new skin of layer of imagery. The photographs evolve around the concept of how far one can push the film or the medium of landscape until it reaches abstraction. Pairing these two disparate forms of photography, the print created in the darkroom achieves a point of conflation.