My work explores working with film, found materials and experimenting with different types of photographic techniques that date back to early photography of the 1900s. These techniques are inspired by my fascination with light drawing and early photo printing formulations that continue to encompass my drive for experimental photography. My photographs are technical, yet expressive, conveying a narrative of its own that reference the passing of time from an experimental lens. The work is also meditative, a reflection of my unconditional love for photography where I enter a flow state.
At the age of twelve, my brother introduced me to photography and this became a hobby of mine, which turned into a profession. I worked with digital before being introduced to analog film. When I took my first film photography course during my junior year of college in 2018, I slowly moved away from shooting digital and began primarily working with analog. I appreciate how film requires a slower process that feels much more nostalgic and raw, but where it allows my mind to be present.
My creative process differs depending on the current project I am working on. Occasionally, I enjoy looking through photo books as a great source to gather inspiration and journal down my thoughts to help my mind become clear and focused. It is important for me to have a side hobby that moves my focus away from photography to prevent feeling burnt out at times, while yet keeping a great balance of art and non-related art hobbies. I am deeply influenced by the world around me and take great inspiration from my time in the desert to disconnect and recharge.
Some of my biggest influences in photography are Ansel Adams and Man Ray in how they both photograph light in such a beautiful striking manner. Lens The Uncanny is a series that stems around working with pinhole photography where I created a pinhole camera out of an oil diffuser box, made of cardboard and reconstructed its form to a shape of a medium format camera. My inspiration and creative spark behind this work was to initiate conversation in the great value that found objects like cardboard hold. Cardboard is often viewed as useless or wasteful, yet I wanted to remind others that whether it be cardboard or found objects, one can use them in many creative and useful ways. All of the black and white photographs are captured with the pinhole camera circling back to change and renewal, experimenting with motion blur and long exposure while thinking about time and distorted imagery. I wanted to explore light-drawing using different photo techniques.
Double Frames is a meditative body of work that consists of photographing places and objects that hold personal value, while experimenting with double and single exposure. The series highlights working with analog, as I was fascinated with the idea of double imagery, experimenting with visual and perspective. This was also my first time working with double exposure. I wanted to approach photography from a new lens and implement new techniques that I have never really done before. With Double Frames, I thought a lot about what experimental photography means to me––in finding creative ways that will challenge and push me as an artist. All images are captured with a Mamiya RB67 and Canon AE-1 camera using Kodak Portra 400.
Art has given me the freedom to create freely, connect, and bring a community. It is where I feel the most beautiful and alive. As we tend to live in a fast paced world, working with film has given me the opportunity to take a step back and go with the flow, yet focus on positives rather than the negatives.