Photography has always been the foundation of my work. I employ paint, yet my process involves working directly on photographic surfaces, forming collages, or painting in ways informed by contemporary modes of picture taking. Following my undergraduate study in Photography and Fine Art, I spent ten years as a photo editor in breaking news and popular media, analyzing metrics to understand which images resonated, observing what draws viewers in, and exploring how to tell impactful stories truthfully and provocatively—when editorial boundaries allowed it.
it then became time to leave media and pursue an MFA. Now I could delve into images that invite slower contemplation—pieces with impact that only unfolds over time. A fundamental aspect of my work is the viewer’s gradual discovery, something my MFA thesis, Memory is not a Picture, examined by investigating the effects of photos on memory and vice versa.
My recent work consists of inkjet prints of personal, everyday subjects layered with oil paint. The painted layer does not explicitly reference the photo beneath it. Instead, it's based on a separate moment. transparency allows the underlying image to emerge over time, creating a dislocated sense of temporality. An unassuming still life might eventually reveal unexpected details—a laptop cord, a radiator— uncomposed moments that slowly surface. These works, shaped by my experiences in media and observations as a human moving through her life, reflect the fragmentation and saturation of visual and personal space in the digital age.