My creative work centers upon imagery based on the natural world, with a particular dedication to marine environments. I am fascinated with the tension between the benthic zone and the surface, a space in constant motion.
The pieces are a concoction of fact, memory, and invention. This blend is a statement about the ambiguity of solutions in a time of crisis: what is real, what is hoped for—how our perception is as malleable as the paths of shoaling fish in the sea.
A central component to my process is the scientific practice of field work: I regularly seek out opportunities to assist scientists with projects, in order to gain access to authentic visual experience and data. Always armed with a GoPro camera to capture footage, my wet suit, snorkel gear and sometimes a water-resistant notepad—it is important to me to acquire and then work with photos/video that I captured myself. I am slowly compiling an archive of the world’s seas, with the goal of building that documentation over time.
Participating in the conservation efforts of coral reefs, sharks, and other species, my creative research has taken me to various locations in the Caribbean and the Pacific. The subsequent labor in the studio responds not only to the science but related emotional quandaries of an environment in peril.
I am also interested in the connectivity between marine and terrestrial elements, as well as other dichotomies, such as health versus illness, macro versus micro, geological versus biological. Thinking about my compositions as stage sets, with various entities playing a role, I’m bringing creatures and environments together that may not normally exist in the same space. A large part of this intention is the desire to emphasize the necessity of each ecosystem to the other—we need the “voices” of each to be recognized and conserved. No one truly acts alone.