Photography carries an intrinsic claim to truth: we treat a photograph as proof, evidence even, of a visual reality. This assumption is what my work is interested in investigating. A photograph is necessarily a copy — and all copies are translations that lose certain information, and gain false artifacts, in the process.

My work highlights these visual translations, between visuals and written language, between 2D and 3D objects, and artificial and organic materiality.

The subjects of my images are also focused on this driving motivation of reproduction and iteration: body reproduces through sex and its destruction in death; industrialization, mechanical infrastructure, and division of land; proliferation of constructed worlds in private and public spaces. With frames, sequences, titles, and sculpture, I highlight the instability of what the audience is viewing. My work isn’t concerned with the origin of the image, or its authorship; instead, I’m focused on the level of the viewer, what makes them believe in an image in the first place, and how easily that belief can be distorted.