Visual poetry
from an ordinary
America.

For over twenty-five years, I have been photographing the places that hold America together — the gas pump, the motel sign, the video store, the dollar store, the oyster counter, the camp bathroom sink basin.

I use film because film remembers differently than digital. I use collage because a single photograph can only tell you what something looked like. Multiple photographs, assembled by hand in multiple passes, can tell you what something felt like — and what it will feel like to have lost it.

My process begins with a frame. I shoot on 35mm film with my trusty Nikon 50 — Kodak 100 through 400 ISO for daylight; CineStill 800T for the night work — developing prints that I layer and assemble by hand. No digital compositing. Each pass through the collage artwork adds another element, another angle, another moment. The subject accumulates. The subject teases. The subject repeats. What remains is the feeling of having truly looked.

I see the world in a connected manner. The El Camino, the shuttered Blockbuster, and the 99¢ store are not separate subjects. They are the same subject: the American institution that made a promise to everyone and then quietly stopped keeping it. I am part cultural documentarian, part portraitist. And these are my subjects.

A new body of work — Japanese Tapestries — marks a new chapter: bright neon shot at night on CineStill 800T film in Tokyo and Kyoto/Osaka in March 2026, informed by studio visits with leading art curators Alex Skull, Shirley Morales, and others who have pushed my practice into new territory. Targeted for a Fall/Winter 2026–2027 Los Angeles exhibition.