My Stuff

This work is centered around the images of wild clay


In this work, I use tactile images of clay in hand to allude to the visceral experience of being shaped by someone. I combine documentary and editorial techniques, using angles and editing commonly found in editorial work to achieve compelling visual aesthetics. At the same time, I work to capture my subjects candidly without posing as to not remove my subjects from the world they inhabit. Emulating the simultaneous intimacy and disquietude of Ingmar Bergman’s Persona, I use harsh shadows and tight close-ups to create visual drama. Hands are the most definitive feature that the artist seeks to leverage in their photographs. 


In this work, I explore Boulder Creek using myself as a subject. I use the natural scene as a backdrop to allude to how nature can mirror the forces that shape relationships. 

Do we Believe in NCAR is a documentary exploring how young people are processing climate change in a country that refuses to acknowledge it.

Do We Believe in NCAR is an expository documentary that explores anticipatory grief surrounding climate change. The project investigates how young people are being affected by conversations centered around climate change. 

Using on-street interviews, the work centers itself in the lived experience of young folks. It invites young people to air the psychological wounds of the climate change discourse and renew their conviction in the planet. The project engages with the possible closure of NCAR, the National Center for Atmospheric Research, addressing partisan attempts to dismiss the subject. Ultimately, it proposes that people process the collective reality of climate change through individual stories, as understanding the ills of our ecosystem is the only way to combat it effectively.

A mock-up for a campaign for a small belt buckle reselling business

Mixing editorial energy with product focus, this shoot was about showing range and building a vibe. Working with a small group of amateur models, I shaped a loose yet distinct identity, framing these belt buckles as statement pieces that fit naturally into each person’s style.

You’ll notice bits of Americana remixed for a generation of consumers eager to build a fresh relationship with pieces rooted in a long visual history.

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Sourced from the Internet Archive, this found-footage film draws on media at varying distances from the present. While some forms have faded, the PSA anchoring this piece provides a consistent thread. Vintage horror films make up the second body of material, images that still resonate in contemporary media.

Treating horror as a lens into our darker instincts, this work explores how these narratives simultaneously construct and reinforce heteronormative relationships.

As Public Relations Chair for NSBE, I focused on developing a clear, engaging visual identity for the chapter.

Through social media campaigns, event promotion, and collaborative outreach, I worked to highlight both the organization’s mission and the community behind it. From designing graphics to experimenting with short-form content, my goal was to make NSBE feel visible, accessible, and worth showing up for.