My work in photography, painting, and sculpture constructs visual fictions that explore the sudden collapse of safety, the aftermath of violence, and the illusion of control. I choose my materials and subjects for their emotional weight—velvet swatches salvaged from my mother’s bedroom after her death, cement mediums selected for their brutal tactility, crowd scenes I’ve photographed in moments of anxious celebration. I both build and disassemble these elements to create psychologically charged narratives that reflect the fear pervasive in contemporary life.
In my series Shooter in the Crowd, I stage a violent scenario during a bright day in Central Park. Deconstructed from panoramic photographs, each work becomes a tense fiction: revelers are rearranged into scenes of impending danger, a gunman moves invisibly through the crowd, and only a dog senses what’s coming. With each version, the imagery becomes more abstract, echoing the erosion of safety and the surreal normalcy of public threat.
In Crime Scenes, I depict the aftermath of home invasions—top-down views of disheveled interiors, overturned furniture, and bloodstains. These collage works reference forensic photography and evoke the psychic rupture of violence entering private space.
Bombs & Explosions captures moments of detonation. Vibrant on the surface, these abstract works conceal devastation: fragments of homes, city grids, and bodies caught in the blast. They mourn senseless destruction while salvaging visual remnants to insist on human presence and resilience.
Across all my work, I construct spaces where terror is imminent or already unfolding. The violence I explore is not only physical, but emotional and cultural—embedded, like grief, in place and memory.
