PHOTOGRAPHY

BLACK AND WHITE

ABSTRACT

PROJECTS AND SERIES 

"Abstracting the Home" Photo Essay

A house–or any place we are very familiar with–does not have inherent meaning. A house is only a collection of shapes and forms until it’s made meaningful by a person who imposes their context (memory, experience, and cultural influence) on it. The study of this process-how objects have meaning to us-is called semiotics.

In this series of abstract photographs I explore the semiotic process of meaning-making by removing the context that makes the images “make sense.” I reduce the places that have the most meaning for me (for example: my house, or the street I walk every day) to pure form. This permits us to identify the meaning we add to form better because we can notice its absence. In non-abstract images that provide context, it is usually impossible to separate forms from meaning because the semiotic process is instantaneous and subconscious.

Versione Italiano:

Una casa, o qualsiasi posto a noi molto familiare, non ha un significato intrinseco. Una casa è solo una collezione di oggetti e forme, finché non una persona lo rende significativo attraverso l’imposizione del proprio contesto (memoria, esperienza, influenza culturale) su di essa. Lo studio di questo processo in cui le cose concrete e visuali ottengono da noi un significato, si chiama “semiotica.”

In questa serie di fotografie astratte, esploro il processo semiotico del creare un significato attraverso rimuovendo il contesto che dona un significato iniziale agli oggetti. Nelle immagini non-astratte che hanno un contesto, è di solito impossibile separare forma e significato, perché il processo semiotico è istantaneo e subconscio. Però in questa serie, riduco i posti che sono più significativi per me (la mia casa o la strada in cui cammino ogni giorno) a pure forme. Questo ci permette di identificare meglio il significato che noi stessi aggiungiamo perché è più
facile notare la sua assenza. Comprendere questo processo di costruire significato da niente, un posto senza la mia storia, è specialmente importante per me come faccio la mia nuova casa in Salento.

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[Originally published in 2024. Exhibited at GEA Gallipoli (Italy) in 2022.]

"China New and Old: Juxtapositions" Photo Essay

How does contemporary China build around and interact with its past as it continues its cultural and economic influence, yet rapidly develops and changes? What does it mean for China’s cultural history to be in contrast against modern life, but in that juxtaposition serve as a foundational political tool in the country’s modernization?

I’ve always been interested in Chinese history–how has such a powerful economic and cultural force had such an important influence for so long?–and after studying Chinese for 6 years I finally decided to visit the country on my own. I didn’t set out with this photo essay in mind, but once I began to look around it was impossible not to notice the amazing juxtapositions and collaborations of history and modernity that surrounded me–and the beauty and complexity of these quiet details that I wanted to show others who couldn’t stop and wonder. My eye is drawn to and I specialize in abstraction, so in this series I blend the space between typical portraiture and street photography by focusing on form and composition.

Role Reversal (Pray Text), 2019 (1/6)

Neon Market, 2019 (2/6)

Two Half Men, 2019 (3/6)

Choco Pie Offering, 2019 (4/6)

Concrete Wishes, 2019 (5/6)

Open Oasis, 2019 (1/6)

[Essay originally published in 2019. Exhibited at the Brown Gallery at Duke University in 2021.]

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