I have been printing these small, 4"x4" to 5"x5". It started when I printed several out onto a single page and trimmed them into proofs. For my exhibition at Mendocino College, I decided to window mat a selection of 47 (for my number of years!) I had a lot of flexibility to show what I wanted. The prints are 4"x4" in 11"x11" mats, unframed, and set off wall with 3/16" spacer. I like seeing them small like this, and am now working on a book layout. I want to see them altogether!

Installation view, Mendocino Art Gallery

Installation view, Mendocino Art Gallery

Installation view, Mendocino Art Gallery

Installation view, Mendocino Art Gallery

These two shows might be somewhat satisfying, but I really want see them all shown together!


(current statement)
A Place to Rest | 2009 to present

“After graduation, I spent four months in residence at Musée Niépce in Chalon-sur-Saône, France, one of the original sites in the invention of photography. During my time abroad, Barack Obama was elected President of the United States and hope was in the air, in particular around resolution of the wars in Afghanistan and Iraq. From France I traveled to Amman, Jordan to co-produce a documentary with Sama Alshaibi for Direct Aid Iraq, a peace-building mission between Iraqis and Americans to aid displaced civilians as the result of the war.

Friends began to ask me, “Where are you? It’s hard to keep track of you.” When I could get internet access, I would scroll Facebook and see countless pictures of meals that people were about to eat. Witnessing refugees search for home and stability under dire circumstances, where meals were not a given, ignited something in me. I was not blaming my friends; at the same time I thought, I will take a picture of where I slept tonight, for I am lucky to have such a place. As a joke, or perhaps a challenge, I shot on film, not with the digital camera. After I returned to the United States, I embarked on a post-graduation mobile lifestyle of residencies, academic migration, and nomadic movement associated with searching for work while following creative pursuits. I continued to photograph every bed I slept in with my Rolleiflex camera, as a way to slow down and consider where I was–friends’ places, catsitting gigs, conference rooms, hotels for interviews, my parent’s house, a rest area parking lot in the middle of Kansas. I didn’t have hard rules, except that I only photographed a place once, even if I returned multiple times, or stayed many nights. The everyday is a well-explored genre in the photographic field, yet it is still irresistible as a way to mark place and time. The archive has over 200 beds and is still growing.”

HERE ARE A WHOLE BUNCH MORE! They aren't properly edited yet, some are gridded and so on, but just to show the breadth and difference/similarity. There might be some repeats, and many aren't yet edited for C&D.

And just a few more...

Des Choses du Carmel
Then, I couldn't resist showing the relationship to this work, which I made at Musée Niépce right after graduate school, and where the bed took center. Hmmmmm!? It’s original presentation is a book, but was shown as a single line of prints at the museum. It's not easy to tell, but imagine the negative white spaces are the "blank pages".


27 Days
So, I have only shown a few of these on Instagram (I did a daily post towards the end of the year). This was getting comfortable in front of the camera, and I think about the nude with much hesitation. But it feels oddly related to these other works. But most to my current, quiet project “Seen”.

"In an effort to warm up to a new project, I take a self-portrait every morning to get over lingering camera shyness. There is a scale in the room, so I weigh myself too, and record it in my journal.  At the artist-in-residence house at Center for Photography at Woodstock, every morning for the duration of my residency, summer 2017. Crown Graphic 4x5, f/32."