Slow Drift is a photography, installation and research project exploring landscapes connected to legacies of plantations in Maryland.  The work records soundscapes, people, landscapes, suburban and rural spaces and objects. Each image traverses history through large format photographs, non-lens processes, medium format photography, and archives.

These images include works I have made over the last two years: on the road living out west, photographing at a field research station in the Bay of Fundy, teaching in Western North Carolina and making images of my hometown of Baltimore, Maryland. This project explores how the earth holds its own sense of time and keeps a record of history through fossils, waterways, soil, and the atmospheric qualities of a place. I began photographing this series during the quietness of the pandemic, thinking about how fragile and porous our bodies are with the environment and built places. This work is inspired by myths, the daily dramas of living, the unpredictability of the weather, and how people structure their spaces and relationship to the living world

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)

An experimental documentary film, non-narrated and observational, that looks at the historic and economic vestiges embedded in gesture and landscape in a rural region of North Carolina. Yields meditates on the failure of industrial promise through a series of short vignettes that aggregate to express how absurdly intertwined a place can become with what it produces. The film is a meditation on sound, landscape, and labor in a rural economy abruptly severed from its historical connection to the production and processing of poultry. (Camera/Editor/Director)

A nonfiction film about my father, archives, the nature of conversation and dealing with unexpected loss. A toy airplane and the filmmaker's deliberate break with the rules of filmmaking become reoccurring themes.

This installation used text, notes from my father's archive that I installed walls around the room and projections and TVs as mediums to come to terms with my father's untimely death.

A Note From Home is a long-term, participatory project and forthcoming photo book using photography, portraiture, oral history, writing and archives to explore the complexity of family and personal narratives in collaboration with young people who have experience in the foster care system or with homelessness. The images above consist of portraits I shot, collaborative images and images from family archives. Initially funded by the Center for Documentary Studies' Lewis Hine Fellowship, each young person involved in the project produced their own body of work, exploring an aspect of their personal narrative in search of new meanings of home and family. The work explores rites of passage, the strength required to constantly rebuild home, landscape as a form of protection, imagined childhood maps, and the everyday things people carry with them.