Thank you in advance for your interest in these cards and supporting the continuation of my work and practice.
All proceeds from Res Cards will go directly towards funding a residency I will be attending at Atlantic Center for the Arts with photographer Catherine Opie in February 2019 and the ongoing project I will be working on while there entitled, Pulse.
All the cards are available for purchase on a sliding scale. It is very important to me that my work is accessible to anyone who wants to enjoy it. These are Baseball Cards after all! They are not for looking at on a screen- they are for you to hold in your hands!
Background on my work and Pulse:
My work often engages directly the material of American culture, news, and politics with a complex and emotionally sensitive subjectivity. The way I enter into conversations about American culture, politics, and identity in my work is by looking closely at what is right in front of me– often my family and friends in the environments I am familiar with and in close proximity to. I prefer to have an ongoing and intimate relationship with the places and people I photograph as I think the time spent is in direct relation to the complexity found in the work.
I began photographing at the memorial at Pulse Nightclub and the surrounding area immediately following the shooting at Pulse Nightclub on June 12th 2016, now remembered as the deadliest incident of violence against LGBTQ people in United States history. The work from the ongoing series Pulse blends my formal sensitivities with the public material evidence of grieving and the harsh specificity of the crime scene that would later become the memorial at Pulse Nightclub.
Amongst the photographs I made at the memorial were some of the fence protecting the crime scene. For me, the fence went beyond a delineation of the boundary between public and private space- it became a boundary like skin, a boundary between life and death, a representation of a surface separating us, the living, from that which is lost. The fence also quickly became the substrate for the material of the memorial, which I have continued to document, amongst many other public objects and artifacts of loss and mourning, over the past two and a half years.
Although the work addresses the immediate public reaction to the shooting, my concern with how the event will be remembered and where the evidence of that memory will live within the landscape is the primary motivation for my return this upcoming winter.