I am a political artist. In all of my work, I am interested in edges, liminal spaces, and subject matter that exist outside of and confound dominant modes of seeing: my photography blurs boundaries between self/other and taker/taken in the power binaries of Western Culture. My work is inspired by feminism as a pursuit of justice and in participating in the politics of representation by contributing alternative photographic ‘evidences.’ I prioritize the emotions and the soul but, at the same time, use the self-reflexivity of Post Structuralism to promote a progressive and life affirming politic. Once emotions have been activated, once the soul has been engaged, the work then interacts critically and conceptually with its cultural context. This movement is called “Emotive Conceptualism.”


In my current projects, I am focusing on the wilderness, and the contemporary urgency of symbolically reconnecting with its mysticism, vulnerability and power that have been ontologically barred from Western Civilization. In my most recent projects, “Sea Surfaces” and “Wilderness”, I am overtly creating beauty that counters the oppression and exploitation that dominates, silences, and destroys. Countering Post-modernism’s view of nature as fully conditioned and contained by culture[1], I am interested in surfacing and celebrating some of the resilient truths of the wilderness that need to be honoured and respected on their own terms outside of human control and containment. In vitalizing Roland Barthes’ influential notion of the photographic ‘that has been’ which terminates fatalistically as ‘flat death,’[2] I am working towards using the medium to remember what has been forgotten in order to remind us of what is still here.


[1] Campany, David. Art and Photography. London: Phaidon Press, 2003.
[2] Barthes, Roland. Camera Lucida: Reflections on Photography. Trans. Richard Howard. New York: Hill and Wang, 1980.