1, 2, 3. (or: To Do's Done To Date) Photography Book
       
     
       
     
 1, 2, 3 is a compilation of three photography projects which trace the artist's developing relationship with photography as an art student from 2003 to 2005. This limited edition of 50 books was hand bound in its entirety by the artist; from the page layout to the screen printing of its hard cover, her hand was involved in each step of the process.  Purchase a copy   here  .
       
     
 Book includes projects: 1. Big Sur, 2003 I was entering my first year of art school and was already beginning to notice that my inspiration to shoot photographs was dwindling. I had been an active high school photography student and was yearning to take the next step into the world of photography that lived beyond my 35MM camera. I was soon introduced to my first medium format twin lens reflex camera and immediately immersed myself in this new manner of picture taking. I was in love with the contemplative approach and procedure, its mechanical features, and the new world that was being seen through my viewfinder. Photography was once again about exploration, each photograph offering an avenue to discovery.
       
     
 2. Ceiling Fans, 2004 I lived in a house on Carlos Avenue with eight roommates. When things went bad, the house divided. Before we ultimately decided to leave, I asked my roommates, along with other regulars at the house, to pose for me under the ceiling fan in the kitchen, the common area. Then I had them draw their idea of a ceiling fan.
       
     
 I was seeking more interaction in my photography work and started implementing systems and outside variables that would work together to form a final result. I was becoming less and less impressed with the photographer simply photographing for the sake of the photograph and more interested in using photography as a tool to express a larger idea.
       
     
 3. Portraits, 2005 I asked the people closest to me to pose for a portrait. I then asked them, "what are you best at and why?". I'm curious how image and text play off eachother, how they both seem to be powerful and fall short at the same moment. There is something to be said about committing to something that is supposed to capture your essence, whether it be a pose or a sentence.  Cynicism was forming as my studies in photo theory progressed. A critical eye fell upon all my former perceptions of photography and I began to question the role of the photographer and their motives for picture taking in their practice. During this time I was also starting to explore writing and recognized the same power and weakness in photography that the written word possessed. Text was incorporated into all my artwork, including my photography, as it helped me explore the seemingly overwhelming doubts I was experiencing at the time.
       
     
1, 2, 3. (or: To Do's Done To Date) Photography Book
       
     
1, 2, 3. (or: To Do's Done To Date) Photography Book
       
     
PLAY: The Making of 1, 2, 3. (or: To Do's Done To Date) Photography Book
 1, 2, 3 is a compilation of three photography projects which trace the artist's developing relationship with photography as an art student from 2003 to 2005. This limited edition of 50 books was hand bound in its entirety by the artist; from the page layout to the screen printing of its hard cover, her hand was involved in each step of the process.  Purchase a copy   here  .
       
     

1, 2, 3 is a compilation of three photography projects which trace the artist's developing relationship with photography as an art student from 2003 to 2005. This limited edition of 50 books was hand bound in its entirety by the artist; from the page layout to the screen printing of its hard cover, her hand was involved in each step of the process.

Purchase a copy here.

 Book includes projects: 1. Big Sur, 2003 I was entering my first year of art school and was already beginning to notice that my inspiration to shoot photographs was dwindling. I had been an active high school photography student and was yearning to take the next step into the world of photography that lived beyond my 35MM camera. I was soon introduced to my first medium format twin lens reflex camera and immediately immersed myself in this new manner of picture taking. I was in love with the contemplative approach and procedure, its mechanical features, and the new world that was being seen through my viewfinder. Photography was once again about exploration, each photograph offering an avenue to discovery.
       
     

Book includes projects:
1. Big Sur, 2003
I was entering my first year of art school and was already beginning to notice that my inspiration to shoot photographs was dwindling. I had been an active high school photography student and was yearning to take the next step into the world of photography that lived beyond my 35MM camera. I was soon introduced to my first medium format twin lens reflex camera and immediately immersed myself in this new manner of picture taking. I was in love with the contemplative approach and procedure, its mechanical features, and the new world that was being seen through my viewfinder. Photography was once again about exploration, each photograph offering an avenue to discovery.

 2. Ceiling Fans, 2004 I lived in a house on Carlos Avenue with eight roommates. When things went bad, the house divided. Before we ultimately decided to leave, I asked my roommates, along with other regulars at the house, to pose for me under the ceiling fan in the kitchen, the common area. Then I had them draw their idea of a ceiling fan.
       
     

2. Ceiling Fans, 2004
I lived in a house on Carlos Avenue with eight roommates. When things went bad, the house divided. Before we ultimately decided to leave, I asked my roommates, along with other regulars at the house, to pose for me under the ceiling fan in the kitchen, the common area. Then I had them draw their idea of a ceiling fan.

 I was seeking more interaction in my photography work and started implementing systems and outside variables that would work together to form a final result. I was becoming less and less impressed with the photographer simply photographing for the sake of the photograph and more interested in using photography as a tool to express a larger idea.
       
     

I was seeking more interaction in my photography work and started implementing systems and outside variables that would work together to form a final result. I was becoming less and less impressed with the photographer simply photographing for the sake of the photograph and more interested in using photography as a tool to express a larger idea.

 3. Portraits, 2005 I asked the people closest to me to pose for a portrait. I then asked them, "what are you best at and why?". I'm curious how image and text play off eachother, how they both seem to be powerful and fall short at the same moment. There is something to be said about committing to something that is supposed to capture your essence, whether it be a pose or a sentence.  Cynicism was forming as my studies in photo theory progressed. A critical eye fell upon all my former perceptions of photography and I began to question the role of the photographer and their motives for picture taking in their practice. During this time I was also starting to explore writing and recognized the same power and weakness in photography that the written word possessed. Text was incorporated into all my artwork, including my photography, as it helped me explore the seemingly overwhelming doubts I was experiencing at the time.
       
     

3. Portraits, 2005
I asked the people closest to me to pose for a portrait. I then asked them, "what are you best at and why?". I'm curious how image and text play off eachother, how they both seem to be powerful and fall short at the same moment. There is something to be said about committing to something that is supposed to capture your essence, whether it be a pose or a sentence.

Cynicism was forming as my studies in photo theory progressed. A critical eye fell upon all my former perceptions of photography and I began to question the role of the photographer and their motives for picture taking in their practice. During this time I was also starting to explore writing and recognized the same power and weakness in photography that the written word possessed. Text was incorporated into all my artwork, including my photography, as it helped me explore the seemingly overwhelming doubts I was experiencing at the time.