I use vintage photographs to engage with the psychological state of the subject at the moment in which the image was captured. Most of my found photograph collection is circa 1930, evoking a sense of nostalgia, as the subjects have likely passed. Though I work predominantly with images of strangers, I occasionally use photographs from my own family. My ancestors were farmers, gardeners, beekeepers, and coal miners (professions that work closely with the earth, to which they have peacefully returned). I also use images from the natural world: cicadas, ants, snails, root systems, cocoons, medicinal plants and flowers. The correlation between these elements and a figurative photograph creates a conversation about ephemerality and the intimate processes of decomposition and rebirth within nature's cyclical course.
My process alternates between traditional intaglio printing, solvent transfers, and mold-based sculptural objects. I collage antique engravings, botanical illustrations, collographs, and experimental textures. My work embraces the spontaneity of the elements, including living plants, fungi, and moss which alter the physical surfaces (and consequently, the images themselves). My prints can stand alone, but function best together as a stream of consciousness installation; images hung in simple frames, fragile specimens, ant farms, seedlings, and succulents. The juxtaposition of transitory, living materials with the brief and poignant memory held in a photograph evokes a poetic response.