Southern gothic is a series of traditional black and white double exposure, 11x14 lith prints of classic white farmhouses and the female form. These dream like, illusive, and shadowed images were enhanced by the alternative lith process adding an additional layer of clouding to the prints. Through this series I have attempted to create mysteriously evocative imagery that subtly eludes to a set of societal normalcy that dictates the decisions of young women in the Southeast. Although we are in a time of great female achievement and movement, there are still behaviors that women and young girls are pressured to enact specifically in the south, because these norms considered to be more acceptable, appropriate and desirable.
The relationship between woman and home, private and public were a concerns I have attempted to address. These images are meant to be both ethereal and unsettling a contradiction that magnifies the enigma of the female role. These images are both unclear and sensuous, raw yet disturbing. It is my goal to elicit in the viewer a constant disposition of loneliness, unease, and reverie.
The Andes of South America is a rural and rugged environment. In result communities and family groups are stronger and more connected. The people here have a delicate and deeply personal relationship with their surrounding environment and have learned through generations to respect and live off of the land. This series explores concepts of community, landscapes and the environmental effects of tourism on developing communities.
Class C examines the poignant lives of men on the road committed to driving commercial vehicles. The portrait series of these individuals eludes to a larger narrative of lower middle class workers who’s daily tasks play a larger function in our daily lives. By momentarily interrupting their routine I have created a glimpse into their life on the road, and have attempted to reveal how their careers transcend from a traditional 9-5 job to a way of living. From a stationary perspective, in the common rest hubs of truck stops I have captured these individual’s migratory routine through environmental portraiture. By creating photographs of this group of people in their transitory environment, I hope to emphasis how the routine of their lives is not static or permanently affixed to the place in which their portraits were made.
The random strangers photographed in this series each offered explanations on why they continue to drive; for many it has become a longstanding lifestyle rather than just a career choice. Each chance encounter and driver I approached is meant to echo the idea of a temporary meeting on a longer journey. I was compelled by the stories of these individuals that I met and have aimed to depict through a documentary environmental portrait approach, the contemporary issues surrounding our consumer culture, and how that very societal habit has affected the individuals tasked with delivering goods from one place to another. Class C drivers are an essential element in our communication and distribution system from produce and livestock, to furniture and retail items. I want to highlight these people under extreme pressure to meet deadlines due to an influx of consumerism.
This series touches on the American lifestyle on the road, and what it means to be a migratory worker in 2017. From my outside stationary perspective I aim to draw attention to a group of people who are becoming obsolete due to recent technological advantages. Currently there are approximately 3.5 million truck drivers in the United States according to the American Trucking Association, that means there are 5.6 million semi trucks on the road at any given moment across the united states delivering goods. From my research and encounters I have found that trucking surpasses the idea of traditional occupation, there is a tight knit community of truck drivers who, although started for different reasons, have continued to drive for a collective purpose of income, travel, and pursuit of America.