ARTIST STATEMENT
What does a person believe about themselves, & what becomes possible when that belief is gently interrupted?
I work primarily in studio-based portrait photography across the beauty, glamour, and boudoir genres, though these labels are less about category and more about perception. The work is feminine-forward, most often created in collaboration with women — particularly women of color, and *most* chiefly Black women — many of whom are solopreneurs or leaders within their own spaces and communities. While the work *can* be applied to their business(es), is intended chiefly to benefit them as an individual, either in self-care efforts, or in the expansion of perception of self. This focus does not exclude others; rather, it establishes a center of gravity from which the work can resonate outward.
On the technical side of perception, I explore how light, posture, color, and time collaborate to either reinforce or dismantle a fixed idea of self. On the less tangible side, some images are rendered with clarity while others may distort ambiguously. In all cases, the same underlying tension remains: how someone sees themselves, and what is actually available to be seen.
My approach is structured, but not rigid. Each project begins with an attempt to understand the subject: their own visual preferences, hesitations, language — and the contradictions that can arise within those things collectively. These conditions are not obstacles to overcome, but material to work with. The ensuing process is collaborative; participation is invited openly, and is in no way passive. I take an active role in shaping direction, offering a framework that allows the subject to encounter themselves from different vantage points.
There are layers to this process. In the physical: lighting, composition, wardrobe, and environment each oscillate between weighted and equal importance. In the temporal: how long we remain still with an idea contrasts productively with when we push forward. In the interpretive: the final image may convey what was visibly present, but it can also diverge through editing and transformation —introducing constructed realities, or even surrealities. I am particularly interested in that last layer, where the image escapes documentarian ideals to instead cleaves to something potentially unfamiliar. My aim is rarely to obscure the subject, but consistently to expand them.
As a multidisciplinary artist, photography functions as an anchor for me, existing alongside writing, design, audio, and the art and science of production. These are not separate pursuits so much as parallel languages — ways of approaching a concept from multiple angles, testing its strength, and refining its expression. In practice, this may mean a photographic idea is supported by written structure, or that visual decisions are informed by rhythm and pacing drawn from audio work. The objective is not to showcase range, but to ensure that the final output is intentional, particularly in its balance between chaos and cohesion.
Larger concepts are approached in the same way as individual images: by breaking them down into workable components and rebuilding them with clarity. Whether developing or editing a body of work, designing a client experience, or constructing a narrative, I rely on articulation. Defining what something is, is inseparable from deciding what it is not, and both are as important as identifying where its edges are.
I want to build processes that can withstand repetition without losing their integrity. This often requires iteration — testing language, adjusting structure, aligning intent with execution. As a result, hopefully I reduce ambiguity without removing depth, and create systems that are both precise and flexible. This desire and commitment involve scrutinizing easily overlooked details and maintaining a high level of care, even when the outcome is uncertain; not every experiment resolves cleanly, either. Part of the practice is learning how to carry those unresolved elements forward. Other times, trimming the proverbial fat remains the best final word. Above all: consistency over intensity.
The long-term goal of my practice is to create a body of work — and a corresponding experience — that allows people to see themselves with more nuance. Not more positively, and not more critically, but more expansively. Multiple interpretations, like multiple realities, can coexist. Opening a space where different versions of a person can be considered will always exceed presenting a definitive version of them.
This work is ongoing. Each image is a point within a larger continuum, and each interaction informs the next. Over time, I hope to build a visual and conceptual language that is recognizable not because it repeats itself, but because it maintains a consistent line of inquiry:
What changes when we allow ourselves to be seen differently?
Thank You For Reading
what Happens next?
If you think I'm a perfect fit for your next venture, I'd love to hear from you.
Send Me A message
I'll respond within 48 hours, M-F, with available times for brief audio/video meetings.
I have zero availability during holidays.
Option 1
Propose a project or fellowship
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Option 2
Invest In A Future Project
While I do also have a dedicated wish list, which you can find in my site's menu, financing future Neat Shiny Owl projects with monetary gifts or other forms of grants will be greatly appreciated. Please request a payment portal by sending a message here.