I make large-scale, color photographs that address how disconnected we are from the natural world, and express my longing to be more connected through fantasies where a balance has been struck. Sometimes, I respond spontaneously to an event.  Other times, I recreate one.

Recently, I left New York for Massachusetts farm country where I'm working on a series entitled "Bare Handed." This series began with images of individuals who confront dangers in nature, while allowing themselves to be vulnerable. Examples of these are bee keepers who wear no protective clothing and catfish noodlers who fish for seventy pound catfish with their bare hands. While photographing them, I watched them enter a transformative and meditate state that I see also exists in certain farm activities.  I observed a reverence for nature rather than the absence of fear. Much of the current literature and film presents the negative sides of industrial farming without enough celebration of the positive aspects of small scale, sustainable, local, organic farms.  I am interested in photographing people who work with animals on these farms and in the wild to expose the spiritual conviction they have for this way of life, as a gesture to my commitment and belief in its importance as well.

Rather than use a photo-documentary approach, I limit the visual information in my photographs and remove the original context to highlight the fantastical aspect of the scene. In my previous series, "Solid Ground," I approached my backyard as though on safari, getting low to the ground and shooting from an uncomfortable proximity to my subject. In one image, slugs climb over glasses of sugary mojitos that have been left out. There is a jungle at grass level from the slug’s point of view. In an earlier series, "Mean Ceiling," I photographed my face close-up while re-enacting childhood games such as playing in the snow or running through sprinklers. Whenever I approach a body of work, I photograph from a variety of unusual vantage points to find a unique perspective.