Artist Statement

General Statement

I am influenced by my family’s migratory patterns and immigration history. My mother was born in Panama and my father in Michigan. Neither lived long enough in either location to know it. This holds true for the many places they lived afterwards. I grew up as a transplant in rural Middleburgh, New York during my parents’ 16-year home renovation project. I never put down roots there, choosing instead to live abroad and in various cities. The stories resulting from my family’s and my experiences with moving have influenced my working process. Largely, the intersection of displacement and domestic space is the conceptual range that drives the direction of my creative research. My current projects embody a diverse visual terrain that reflect an intellectual curiosity and a myriad of emotions encompassed by ideas related to domesticity and being “away from home”.

I am a lens-based artist primarily, which allows me to explore photo-media for the variety of outcomes appropriate to my conceptual goals. By incorporating different cameras to capture images with a wide range of focus, I create a visual dialogue while photographing that is inspired by memories, intuition, and current events. My projects describe my memories as well as my “gut” responses through the selections I make in my pictures. I apply a formal vision to my projects that consistently defines each working portfolio. Post structurally, I present identifiable subjects to my audience and then rely on their curiosity to investigate further to relate to their own perspectives and knowledge.

Please click on the following link to download a PDF statement about my creative research. To download a current version of Adobe Acrobat reader please go to:

PDF: Artist Statement for Fieldtrips Home and House & Garden

The following are project-based statements:

Italian Breadbasket

My project, The Italian Breadbasket, provides a contemporary visual definition of how food is being cultivated in Italy. Much like Robert Frank’s The Americans, this new creative work brings a nascent perspective to Italy’s working lands. I am inspired to produce this contemporary agrarian story because rural Italian farmers are surviving in spite of outside factors impacting their current economic well-being. As an artist, the opportunity to work on this scale abroad will help me build upon my experience creating internationally as well as benefit me in building a network in Italy. I am familiar with the complexities surrounding agriculture as a subject as I am currently editing a project that surveys the animals of an alternative farm in central Washington State and from growing up in the vegetable growing fields of Schoharie County in upstate New York. Until now, I have not proposed to blend my creative work in another country on this level. In return, I will apply my skills toward expanding visual ideas surrounding the Italian agricultural landscape. From my experiences and formal vision, I will produce a pictorial view of the challenges and distinctions encompassing Italian farming today.

House & Garden

House & Garden is a series of camera-less cyanotypes on paper and fabric, initially inspired by the early plant specimen photographs of Anna Atkins. This project is an Arizona-based series, where I record plant shadows from gardens as well as objects from yards and garages. This ‘blue-print’ process creates a blue and white image that engages a viewer by relating to blue color subjects like a cyan cloudless sky. The present-day objects illustrated by my House & Garden project describe my recordings of yard tools, garden plants, eggs, seedpods, as well as mystery items from ‘the garage’. Many of the final prints were made from a combination of expectation of process as well as surprise. From the initial plant shadows to the evolving photogenic drawings, this research focuses on patterns of light and the representation of a common domestic subject, i.e. tomato cage. For the gallery installation, I hung work so the viewer can look at my prints on paper and fabric and become engaged as if they are looking at their own sheets hung on a clothesline containing shadows of recognizable objects. As the cyanotype print shifts from a negative to a positive image from the white outline of a form; the shape of shadows, I believe, then transport my viewer from the everyday to a dream-like mnemonic, mind space.

Exhibition Description: This work has been installed in a traditional gallery style as well as a clothesline style installation. If you are seeking an alternative style of installation, I would require 3 months testing prior to installation.


I grew up as a transplant in Middleburgh, NY, a rural, close-knit community during my parents’ 16-year
home renovation project. Subsequently, I left after High School. In the summer of 2009, I returned to spend three weeks photographing in Schoharie County, the area that hallmarks my earliest memories. The previous winter when I turned 36, I recognized my 18th year anniversary of my first departure from Middleburgh would be that summer. This collection of pictures describes the very familiar territory from my childhood as well as new places. You see signs from churches and businesses, temporal indicators I identify as evidence of economic and sociocultural elements. This series is highly personal; I am moved by this project due to its significance as part of my history of places and the time markers of my history.

Exhibition Description: This work has been hung salon style previously, but I think white frames with appropriate viewing space will be the next version.


Fieldtrips Home

This series embodies my experiences with displacement from moving and my honest approach toward the myriad of emotions encompassed by domestic space. I photographed friends’ and acquaintances’ houses with a large format camera. The type of camera involves a methodical approach for photographing and informed my working process. I manipulated the focal plane and angle of view for the camera to provide a myopic perspective. During my excursions, I pinpointed what was in focus versus abstracted, creating an almost familiar quality by how the image relates to visual memory. From photographing other’s homes, I was drawn to the organization of their rooms, the emphasis of certain objects, and the interactions with their pets, which allowed me to understand the resident’s view for a moment. From my surveys I found that everyone arranges their space differently from cluttered to an immaculate sense of organization. Within these domestic spaces I created my own visual dialogue. My project describes my nascent memories by the selections I make in the pictures. Ultimately, I hope these images will transport my viewers to their own ideas of “home”. For the exhibition, the photographs are large-scale digital prints at 31” x 40” on fine art rag paper in a minimal black frame without glass, creating a window-like view into the picture. Also, the gallery has living room furniture installed to create a more familiar atmosphere.

Exhibition Description: The photographs are large-scale digital prints at 31” x 40” on fine art rag paper in a minimal black frame without glass, creating a window-like view into the picture. Ideally, the gallery is installed with living room furniture to create a more familiar atmosphere. These images were photographed from 2004 to 2008.

Curatorial Statement for Repercussions

I curated Repercussions: Tides & Time to survey the ways contemporary artists document place and time. Incorporating video, print, painting, installation, sculpture, and photography, this exhibition highlights the various approaches by 17 different artists that utilize locative and temporal concepts.

Filippo Tagliatti’s Tokyo: River City is a video that presents multiple, beehive like views of a present-day apartment complex in Japan, creating a mosaic of multithreaded juxtapositions. From Austin, Texas, Leslie Mutchler exhibits a large-scale digital print from her Green Space series that insinuates and draws the viewer to the mystery present in the cosmic and microcosmic. From his project Camp Home, Kevin J. Miyazaki retraces his father’s family history through a myopic view, fusing the details from a housing development in Tule Lake, California that alludes to its personal relevance as a former Japanese internment campsite. Rebecca Cummins presents a new sculptural time piece, Dog Dial, which traces moments through three-dimensional space. Jason Urban’s piece, Desktop Mountaintop, is a unique office box installation that will forever alter how you view office supplies. Each artist addresses how art can both expand and puzzle our perceptions of our surroundings and temporal experiences.