Slow Drift is a photography, installation and research project exploring landscapes connected to legacies of enslavement, land modification and development that have shaped the environmental history and collective memory of Maryland. Each photograph involves a site that was formerly a tobacco plantation. The work records soundscapes, people, landscapes, suburban and rural spaces and objects. Each image traverses history using large format photographs, non-lens processes, medium format photography, and archives.

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, projections and tvs as mediums to come to terms with my father's untimely death.

Since 2017, I have been working on a collaborative photography project initially funded by the Center for Documentary Studies. The work is made in partnership with youth who have experienced foster care or homelessness. A quiet project circumscribing poverty, identity, immigration, addiction and trauma from the perspectives of youth who have made it to a four-year university, our work has taken us from living rooms of grandmothers and grandfathers to graveyards to foster care homes to rest stops.

Beauty to me is a word for wholeness. A picture fits the pieces together in unified form. That form may be poetic and fractured or narrative and balanced, yet it is a whole all the same. In the process of making images and portraits, collecting oral histories and tracking down family archives, the stories and photographs communicate both an extraordinary resilience and a distinct period of time in which youth and adulthood are intertwined.

As a collective, we completed an arts residency at The Sanctuary For Independent Media and Skidmore College in upstate New York.  The project has been exhibited at the Zimmerli Art Museum in New Brunswick, NJ; the Midwest Center for Photography in Wichita, KS and the Black Rock Center for the Arts in Germantown, MD where the project one first place and a solo show.
   

The images in this portfolio consist of portraits I shot, but the larger project consists of collaborative images made with the students, archival images and an in-progress photo book.