14 imagesThree years ago, I decided to experiment with my relationship to photography by making two counterintuitive decisions. I adopted my Samsung Galaxy III’s smart phone as my primary camera. And, against all advice, I gave up owning a car in Los Angeles. Daily walks to and from work provided endless opportunities to observe L.A.’s magical shifting light, textured buildings, brightly painted surfaces, and abundant plant life. Initially, I photographed shadows and then I began isolating forms to create abstract compositions from otherwise unremarkable structures, scenes, and landscapes. This focus became a meditation as I found myself immersed in the detailed layers of singular objects. By exploring manual settings as well as filters that replicate the tones of old film stock, I crafted muted, inky-hued backdrops while flash coupled with the macro lens setting brought my subjects into stark relief. Flowers are what Darwin called an "abominable mystery." Seeming to have arisen out of nowhere, they still confound botanists. To me their lack of "evolutionary economy"-- radical shapes, vibrant colors, varied scents-- their extravagant complexity became costumes as dramatic scenes unfolded. Yet, so common are they in life and certainly in art that in a way we take them forgranted. I see flowers as more than sentimental tokens of our emotions. To me, flowers are characters unto themselves, communicating the unyielding truth of change...the cycle of birth, growth, death, and renewal. In their natural habitat, devoid of store-bought perfection, their irregular forms dance, insects roam, and decay is as beautiful and wondrous as the first bud. While our smartphones can certainly distance us from our immediate environment, mine brought me closer to it. My intention with this series is to inspire viewers to connect in new ways to the extraordinary world around us by scavenging for beauty among that which so easily goes unnoticed. 18 x 24. Acrylic, plexi face mount, archival pigment prints.
10 imagesThe Rock N' Roll Burlesque were originally shot on film in 2007 on location at the Key Club in Los Angeles. These images vary from other images of the same subjects in as much as I was the sole female photographer to occupy the line up of front of the stage photographers. The images are more gestural and abstract and less about objectifying the dancers and seek to use the forms and light and negative space around the dancers to augment the very-often tongue-in-cheek, or alternately more serious feminist issues that contemporary Burlesque shows address.
28 imagesHere in Southern California, the stark contrast and variations in light throughout the day and the shadows that result are an endless source of fascination and inspiration. If there is one thing I can rightly say I am obsessed with it, it would be shadows.