• mannefection

     I take pictures of shop window mannequins that I find in primarily urban environments, such as Seattle, New York and Paris—cities which are considered to be the hubs of the fashion elite. I am interested in the relationship between the three-dimensional shop window and the two-dimensional advertising image. My images capture tangible objects that physically exist in the shop window, and in our social environment, as marketing devices. My work seeks to emphasize the surreal nature imbedded in the subject’s depiction in order to expose the intentions and biases of those who perpetuate this image. They appeal to the viewers’ sexual desires by setting up theatrical and absurd situations in which the female is present in form yet thoroughly passive.

  • hotel

    “Hotel” is a photographic compilation describing a ghost town existing one story above the town dwellers of a small western town. 
These images were taken within Ellensburg, Washington’s abandoned historic hotels, including the Ellensburg, Edison, and Elmira Hotel. With the help and cooperation of Ellensburg community members, I was able to gain access to these historic spaces and document the extraordinaries existing within them.

  • smokers (in progress)

    I have always seen the act of smoking as a means of disengagement, even in social settings. Smoking allows the smoker a moment to escape momentary conditions and divert focus through the act of smoking: lighting, pulling drags, and exhaling smoke. It is a fetishized act that requires one’s attention to the self, or at least the attention is given willingly. It is a moment of pure self-indulgence.

  • at face value, phase 1

    in progress

  • at face value, phase 2

    in progress

  • constructed landscapes

    I photograph and digitally manipulate dilapidated industrial
    landscapes to construct new subliminal forms in space and visually
    deconstruct the post-industrial transformation. I assume the roll of structural and landscape architect through analytic fragmentation and seamless montage of multi-perspective views, to then relocate the viewer at a single, disorienting vantage point within the scene.

    My photographic process mirrors the post-industrial shift and effect on the industrial landscape’s physical and temporal structure. I want my photographs to convey a sense of beauty and alarm within the sublime through monumentalized, exaggerated, and deconstructed representations of spatial decay in an anti-utopic view.

  • PDA

    photobooth pictures from around the world (in progress).