WORK IN PROGRESS

This series is a poetic and symbolic honoring of the painful, awkward and mysterious ways we meet what challenges us. I am particularly interested in the role of discomfort as a catalyst for change and how the process of change can paradoxically make us uncomfortable - a relationship that is rich with potential, struggle and contradiction. These trying spaces and realities, the edges we navigate, profoundly inform our experience of living and dying. They contain our shredded bits and our swirling multitudes.

My life has taught me that our ability to traverse challenge and sit with discomfort is intrinsic to our ability to access genuine and enduring joy. Even so, we more frequently seem ill equipped for the reality of truly feeling discomfort, so much so that we will go to great lengths to avoid it, sublimate it, disassociate from it, medicate it, put it on others and generally not deal with it. All of which prolongs our individual and collective suffering. My desire is to depict some of the realities and feelings that are possible while inhabiting uncomfortable transitional states, as I believe they are a valuable part of our human experience.

Creatively, I draw from the wells of observation, intuition and meaning-making and I'm inspired by a variety of artistic ideologies. I'm visually inspired by the work of Laszlo Moholy-Nagy and the surrealist concepts of unconscious expression and odd juxtaposition. I approach image making in a subjective documentary style, taking photos of vignettes, symbols or artifacts that catch my gut as much as my eye to use as building blocks for creating structure, metaphor and rhythm.

I developed this work as a series of diptychs to emphasize the feeling of disorientation that discomfort and change can induce, as well as to depict how interrelated they are with integrated layouts. Simultaneously, I wanted to adhere to forms that mimic how we attempt to find order and balance when disoriented - looking for a synergy between disruption and structure. In some cases the images are directly personal, metaphorically referencing elements of my unconventional and traumatic childhood and some are amalgams of ways I’ve observed us as a culture deal with the discomfort of change.