SELECTED WORKS (2019-2021)
FINDING SOLITUDE (2019)
Finding Solitude is an environmental film about saving Vancouver Island's Alpine, Glaciers and Old Growth Forests, created in collaboration with Ucluelet based filmmaker Tristan Hinder-Hohlweg of Old Growth Media. Through interviews with scientific, environmental and cultural leaders, the film explores the importance and interconnectivity of alpine and forest eco-systems, providing the critical next steps towards a sustainable future. Partial proceeds are donated to The Nature Conservancy's Emerald Edge Program.
What does it mean to ask somebody to make themselves more visible? What does indigeneity look like? What does whiteness look like? How do we perform our cultural identities? What images come to mind when we think of certain cultures? What biases may these images or thoughts be informed by? These charged questions all remained at the forefront of my mind in the creation of Composites, a series wherein I grappled - through a process of isolation, imbrication, and a fragmentation of various signifying elements - with the subjectivity of my looking as a person of both Indigenous and Settler-Canadian descent (a positioning wherein two cultures with a complicated past in relation to one another converge).
STAGING NATURE (2021-PRESENT)
The project Staging Nature gives a complex view of the natural world as it is shaped and defined by human interpretation and intervention. As humans, we don’t peer from within into that which is outside, as in looking through a window; rather, we actively generate an image of the world that is synthesized via an intercommunication between the eye and the mind. I am utterly fascinated by the possibility of giving form to that resulting image; an undertaking made uniquely possible by the photograph, for photography, viewed as a reflection of sight, reveals to us the subtle and nuanced ways in which thought colours vision. In the creation of these images, I sought out and constructed scenes and subjects demonstrative of such transformative, “coloured” seeing, as this visualization reveals that we cannot seem to agree on how we should relate to the natural world. Instead, we commonly appear to hover between the desire to bend nature to our will and a longing for the wild - to possess or admire, conquer or embrace. Against the backdrop of the present moment, wherein nature is rapidly disappearing around us at a hitherto unprecedented rate, the need for careful observation and reflection is more urgently needed than ever before. Above all else, I would like for these images to mediate a space through which such reflection can occur.
AN ARGUMENT IN FAVOUR OF THE INTERTEXTUAL IMAGE (2021)
"In an era that is hyper-saturated with images, it is necessary to ask the question: why is it that we privilege, in photography, the singular over the plural? Or, in other words: is it reasonable to task an image or body of work with delivering to us a representation of its chosen subject in such a manner that is all encompassing?; is it fair to consider an image that omits, or worse, occludes (sometimes violently) as an inherent failure with diminished value? Critics over the years have almost unanimously agreed that these are, irrefutably, reasonable claims. The image that fails to show fails. This is the stance of Jacques Ranciére, Shawn Michelle Smith, T.J. Demos and many, many others; perhaps rightly so, at least from within a traditional framework. But it appears to me that this very framework renders the task we have given the image impossible to fulfill from the start, and thus theorist Ariella Azoulay’s claim that “photography has come into the world with the wrong users’ manual” (14) is a more than appropriate descriptor of the problem at hand. Could it be possible that it’s not the images themselves but, rather, our structures for looking that are inadequate? Perhaps the isolation of the singular is a reflexive response against the oft-remarked and hackneyed “barrage” of images; a need to separate and contain, to create definite points of reference to grasp onto amidst this assault. But, if this is indeed the case, can these points truly serve their intended function if they are not tethered to one another in such a manner as to form larger structures? Wouldn’t they instead, in absence of such interlocking, float off vague and directionless (and us with them), atomized points in an astronomical constellation of images? It is my suspicion that this may be the case, and that the traditional stance outlined above is wildly reductive and fails completely to acknowledge the intertextual capacity of images and the human capacity to both cross-reference and arrange (curate); two essential skills that are required to make the judgements of perception through which knowledge is acquired."