- How did you end up at Evergreen and how or how not has it helped you as an Artist?
I came to Evergreen because I was seeking structure and a sense of direction. Evergreen has helped me greatly as an artist by giving me access to resources, mentors, and an entire community of creatives that I didn’t have before. I get to work with talented artists like Meg Reed from The Cooper Point Journal and Photoland.
- What kind of art do you create and what are you thinking when you’re creating specifically in photography? How do you decide what makes a good shot?
I am going to start by talking about fiber arts. Each new hobby I learn informs the other hobbies that I do. I love experimenting with mixed-media in photography. So I’ll blend photo stuff with something like weaving for example. I’ve felt connected to weaving since I took the program Coast Salish Weaving: Perspective and Practice with Susan Pavel. Susan is so knowledgeable. I gained a deep appreciation for the weave style that is native to this land. And I learned that the practice of weaving is one that is highly spiritual. There are so many weaving metaphors. I had such a transformative experience that the following quarter I took Braid’s, Bands, and Backstrap Weaving. Something similar about weaving and images, they both have structural integrity. They both create tension, they require both control and collaboration with the materials. Last spring, I started this series of cyanotype weavings. They’re these textural woven double exposures. I remember working on a large weaving in particular that was around 18×24”. I was having an art day with a friend of mine and we coated a bunch of watercolor papers and this paper weaving for the project. It was such a beautiful day, I remember we picked tall foxgloves to use for our images. Once we dispersed our plants onto the cyanotype material, we waited under the sun patiently until it was time to develop. I guess at the end of it all, a good shot to me is one that feels personal, intentional, and helps me connect to those around me. The work never feels fully mine and I feel my truest self when I am collaborating with my peers and with nature.
- How were you introduced to photography and why do you think it stuck with you ?
My sister is a photographer and I’ve always looked up to her, so naturally I followed in her footsteps. Photography became a huge area of connection for us. I’ve learned a lot here at Evergreen as well. I think photography stuck with me because it has given me both structure and freedom. Because it’s so technical, it appeals to the problem-solving part of my brain. But then there’s this more intuitive side that’s there to help me process whatever I need to confront in that moment. Or it helps me express what I have no words for. It’s a tool for reflection and helps me stay grounded.
- Who are some of your favorite photographers that you look up to ?
I like Angela Boatwright, Gordon Parks, Yoshiyuki Okuyama, Lina Scheynius, Alec Soth, Francesca Woodman, Robert Maplethorp, Dawoud Bey and others. Much of my experience is with black and white 35mm film photography, and I am always searching for inspiration to get that perfect contrast. I think there is this sort of intersection between documentary and fine art that I am drawn to. I am always saying there is a continuous conversation that takes place from me to work, work to viewer, and the way these interact. It makes me think of a note I made in my notebook about documentary work. I don’t know where it came from, but it talks about this social negotiation that takes place in film between the filmmakers, the subjects, and the audience. David McDougall says that there are three ways to think about these relationships between filmmakers and their subjects: the responsive camera, the reactive camera, and the interactive camera.. Are we being observant and attentive to our surroundings? Is the person with the camera taking more of an active role, participating in dialogue with the subject? These are some of the questions I feel these photographers address through their work.
- How do you deem what art of your’s is “good” and what needs improving?
I don’t really resonate with terms like good and bad, they feel so binary, and I want to stay open and curious about my work. I don’t want to quantify something that is personal and subjective. Does it feel honest? If it doesn’t feel honest, it needs improving. But I try not to put too much pressure on myself. If ever I find myself scratching my head at something, I try to take a break, make coffee or get a full night’s sleep and come back to the project with fresh eyes.
- What’s the first piece of art you remember being proud of ?
One of the first pieces of artwork I remember being proud of came from an oil painting class I took in Aberdeen with my brother. It was a landscape with a waterfall, and I remember having fun learning how to use a fan brush. The way the oils smelled, it was just so exciting to create something. Feels like a quiet turning point.
- What do you hope/want to pursue with this creativity or do you have any goals revolving around it?
I want to eventually teach art one day. I love making art accessible, especially for those who may not think of themselves as creative. I find it super fulfilling to watch others gain confidence in their own voice. Aside from that, I would like to sell my own artwork. I’d like to stay connected to the art community here in Olympia and keep doing my own projects. All in all, It’d be great to find a good balance between teaching and creating.
- What is your favorite film stock?
Kodak Ektar 100 or Ilford FP4 400iso film.
