Procession of Ghosts (2022) is a series of unique wet-plate collodion ambrotypes on black glass captured in polar landscapes. The glass is broken and repaired with gold pigment in the cracks. This process references the Japanese art of Kintsugi, where broken ceramics are repaired with gold and considered more beautiful than their original state. The process of breaking and repairing here speaks to the fragile state of polar landscapes today, and perhaps offers hope and optimism. As the icy landscapes convey the transcendence of nature, the cracks speak to this pivotal moment where we are collectively deciding its future.
Cabin at Base Brown, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 11,” unique.
Penguin at Orne Harbour #2, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 12” x 15,” unique.
Perito Moreno Glacier, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 12” x 15,” unique.
Qeqertarsuaq Mountains, 2023. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 18” x 24,” unique.
Ilulissat Icefjord, 2023. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 36” x 42,” unique.
Figures at Portal Point, 2023. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 20,” unique. (SOLD)
Chinstrap Penguin at Orne Harbour, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 11,” unique.
Mountains at Orne Harbour, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 11,” unique.
Iceberg at Paradise Harbour, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 11,” unique.
Ice, Perito Moreno, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 11,” unique.
Penguins on Danco Island #1, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 11,” unique.
Iceberg at Portal Point, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 11,” unique.
Three Peaks, Orne Harbour, 2022. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 9” x 11,” unique.
Iceberg, Qeqertarsuaq, 2023. Wet-plate collodion ambrotype on custom black glass with glue and gold pigment, 16” x 33,” unique.
The Dissolving Landscape (2016-21) is a series of experimental analogue photographs that examine climate change in the landscapes of Canada and Nordic Europe. The project asks the question: what are we losing, in terms of our spiritual connection to the land, as the climate rapidly changes?
In June 2018, I attended a residency on Fogo Island, Newfoundland. It was remarkable to see the history of the island displayed through its architecture of traditional saltbox houses and fishing stages. In the spring, icebergs pass the island as they drift southward from Greenland. The quaint buildings provided a stark contrast with the wild, ghostly icebergs that would float by. It is this dichotomy of the human-made environment against the haunting, menacing and mysterious energies of the natural world, which I seek to capture in my work.
In May 2019, I travelled to the Canadian Arctic to photograph the landscape around Iqaluit and Pangnirtung, Nunavut. Environment Canada has stated that Canada is warming at almost twice the global rate; a 2°C increase globally means a 3-4°C increase for Canada, and Northern communities have been feeling the effects of these changes for decades now. I want my work to communicate how vital our relationship to the landscape is, regardless of where we may live, and how this relationship has become urgently at risk as the planet warms.
My images from these locations features both the mordançage and film soaking processes that I have used in the first and second instalments of this project.
Tilting Storm, 2018. Lightjet print from mordançage, 32” x 40” Edition of 3 + 1AP, 24” x 30” Edition of 5 + 1AP, 16” x 20,” Edition of 3 + 1AP. (ALL EDITIONS OF THIS IMAGE ARE SOLD OUT.)
Tilting Stages, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” (2 sold). Edition of 5 + 1AP in each size.
Little Fogo #1, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” (1 sold). Edition of 5 + 1AP in each size.
Little Fogo #2, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” (1 sold). Edition of 5 + 1AP in each size.
Little Fogo Church #2, 2018. Lightjet print from mordançage, 24” x 30” (1 sold) & 16” x 20,” (2 sold). Edition of 5 + 1AP in each size.
Temporary Research Site Between Iqaluit and Apex #1, 2019. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Temporary Research Site Between Iqaluit and Apex #2, 2019. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Cross, Pangnirtung, 2019. Lightjet print from mordançage, 24” x 30” (1 sold) & 16” x 20.” Edition of 5 + 1AP in each size.
Satellite Dishes, Pangnirtung, 2019. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
House, Iqaluit, 2019. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Little Fogo Houses, 2018. Lightjet print from mordançage, 24” x 30” (1 sold) & 16” x 20,” (1 sold). Edition of 5 + 1AP in each size.
Little Fogo Church #2, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Hidden House, Tilting, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Old Canoe, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Red House, Iqaluit, 2019. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Tarr Inlet #1, 2019. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Pangnirtung Mountains #1, 2019. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Burton River Valley #1, 2019. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Pangnirtung Mountains #2, 2019. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Rock, Apex, 2019. Chromira print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Pangnirtung Mountains #3, 2019. Chromira print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Graveyard, Apex, 2019. Chromira print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Tarr Inlet #2, 2019. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Pangnirtung Mountains #4, 2019. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Ice Wall, 2019. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Installation shot, En Verden i Søgen Efter Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, En Verden i Søgen Efter Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, En Verden i Søgen Efter Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, En Verden i Søgen Efter Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, En Verden i Søgen Efter Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
The Dissolving Landscape (2016-21) is a series of experimental analogue photographs that examine climate change in the landscapes of Canada and Nordic Europe. The project asks the question: what are we losing, in terms of our spiritual connection to the land, as the climate rapidly changes?
I continued The Dissolving Landscape in 2018 in Finland, Iceland and Estonia, making new images with mordançage. The mordançage process here aims to convey the transcendent and fragile qualities of the land. The ways the images warp highlight the spiritual power of the natural environment and also lament its destruction as the planet warms.
While traveling through these countries, I set out to capture the breadth of what “North” looks like- the narrow trees in the boreal forests of Finland, the expansive beaches and rock formations of Iceland, and the variety of remote architecture amidst nature in each place I visited.
Pakri Lighthouse, 2018. Lightjet print from mordançage, 16” x 24” (1 sold) & 8” x 12.” Edition of 5 + 1AP in each size.
Barn, Otamus, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Trees, Otamus #1, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” (2 sold). Edition of 5 + 1AP in each size.
Dyrhólaey, 2018. Lightjet print from mordançage, 16” x 24” & 8” x 12,” Edition of 5 + 1AP in each size.
Ritajärven, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Trees, Otamus #4, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Power Lines, Ritajärven #1, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Forest, Pori, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Keri∂ Crater, 2018. Lightjet print from mordançage, 16” x 24” (1 sold) & 8” x 12.” Edition of 5 + 1AP in each size.
Power Lines, Ritajärven #2, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Forest, Ritajärven, 2018. Lightjet print from mordançage, 16” x 24” (1 sold) & 8” x 12.” Edition of 5 + 1AP in each size.
Forest, Ylöjärvi, 2018. Lightjet print from mordançage, 16” x 24” (1 sold) & 8” x 12.” Edition of 5 + 1AP in each size.
Cabin, Ritajärven, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Rocks, Dyrhólaey, 2018. Lightjet print from mordançage, 16” x 24” (1 sold) & 8” x 12.” Edition of 5 + 1AP in each size.
Trees, Pori, 2018. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Trees, Otamus #2, 2018. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
White Forest, 2018. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Trees, Otamus #3, 2018. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Installation shot, Cold Comfort, SPAO Galley, Ottawa, ON, Canada, Jan-Feb 2023.
Installation shot, A World in Search of Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, A World in Search of Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, A World in Search of Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, Faux Éveil, Galérie AVE, Montréal, QC, December 2017.
The Dissolving Landscape (2016-21) is a series of experimental analogue photographs that examine climate change in the landscapes of Canada and Nordic Europe. The project asks the question: what are we losing, in terms of our spiritual connection to the land, as the climate rapidly changes?
I began The Dissolving Landscape in 2016 during The Arctic Circle residency in Svalbard, Norway. My process involved soaking large format film in acidic solutions prior to exposure in order to degrade the emulsion. The resulting images convey the tenuous state of Svalbard’s landscape due to climate change. I continued working with these images over the next three years, making new images with the Mordançage process. Mordançage is a black and white process that degrades the shadow areas of silver gelatin prints, lifting the emulsion off the paper and creating eerie veils and textures. The warping of the film through these processes emphasizes the complex relationship humans have with this landscape, which involves awe, admiration and exploitation.
Antigua at Blomstrandhalvøya, 2016. Lightjet print from soaked film, 16” x 24” & 8” x 12,” Edition of 5 + 1AP in each size.
Blomstrandbreen #1, 2016. Lightjet print from soaked film, 24” x 30” (2 sold) & 16” x 20.” Edition of 5 + 1AP in each size.
Pyramiden #1, 2016. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Fuglefjorden, 2016. Lightjet print from soaked film, 24” x 30” (1 sold) & 16” x 20.” Edition of 5 + 1AP in each size.
Blomstrandbreen #2, 2016. Lightjet print from soaked film, 24” x 30” (2 sold) & 16” x 20.” Edition of 5 + 1AP in each size.
Antigua at Gipsvika, 2016. Lightjet print from soaked film, 16” x 24” & 8” x 12,” Edition of 5 + 1AP in each size.
Kristin at Tunabreen, 2016. Lightjet print from soaked film, 16” x 24” & 8” x 12,” Edition of 5 + 1AP in each size.
Longyearbyen Harbour #1, 2016. Lightjet print from soaked film, 16” x 24” & 8” x 12,” Edition of 5 + 1AP in each size.
Ymerbukta, 2016. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Longyearbyen Mountains, 2016. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Blomstrandhalvøya, 2016. Lightjet print from soaked film, 24” x 30” (1 sold) & 16” x 20.” Edition of 5 + 1AP in each size.
Gipsvika, 2016. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Pyramiden #2, 2016. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Longyearbyen Harbour #2, 2016. Lightjet print from soaked film, 16” x 24” & 8” x 12,” (1 sold). Edition of 5 + 1AP in each size.
Longyearbyen Harbour #3, 2016. Lightjet print from soaked film, 16” x 24” & 8” x 12,” Edition of 5 + 1AP in each size.
Pyramiden #4, 2016. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Bjonahamna, 2016. Lightjet print from soaked film, 24” x 30” (1 sold) & 16” x 20.” Edition of 5 + 1AP in each size.
Tunabreen, 2016. Lightjet print from soaked film, 24” x 30” (1 sold) & 16” x 20.” Edition of 5 + 1AP in each size.
Longyearbyen Graveyard, 2016. Lightjet print from soaked film, 24” x 30” (2 sold) & 16” x 20.” Edition of 5 + 1AP in each size.
Pyramiden #5, 2016. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Blomstrandbreen #3, 2016. Lightjet print from soaked film, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Antigua at Tunabreen, 2019. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Antigua at Blomstrandhalvøya #2, 2019. Lightjet print from mordançage, 24” x 30” & 16” x 20,” (1 sold). Edition of 5 + 1AP in each size.
Melting Mountain, Blomstrandbreen #1, 2019. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Satellite Dishes, 2019. Lightjet print from mordançage, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Installation shot, Cold Comfort, SPAO Galley, Ottawa, ON, Canada, Jan-Feb 2023.
Installation shot, Dreams of a Northern Outpost, Lonsdale Galley, Toronto, ON, Canada, May-July 2022.
Installation shot, A World in Search of Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, A World in Search of Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, A World in Search of Balance, two-person show at Hanstholm Art Space, Hanstholm, Denmark, Aug-Oct 2020.
Installation shot, The Dissolving Landscape solo show at Galérie AVE, Montréal, QC, October 2017.
Installation shot, The Dissolving Landscape solo show at Galérie AVE, Montréal, QC, October 2017.
Installation shot, The Dissolving Landscape solo show at Galérie AVE, Montréal, QC, October 2017.
Installation shot, Space Within group show at Walnut Contemporary, Contact Photography Festival, Toronto, ON, May 2017.
Installation shot, SHOW 17: Emerging Practices in Ontario group show at Idea Exchange, Cambridge, ON, July 2017.
Installation shot, Analog v. Digital group show at Foley Gallery, New York, NY, August 2017.
Urban Mirages (2011-16) is a photo-based project, examining urban landscapes and tourist attractions. The images are shot using a process developed by the early 20th century Russian photographer Sergei Prokudin-Gorskii, where colour images are made with black and white film by using red, green and blue filters. It is adapted here to emphasize the chaos of modern urban scenery and to inquire into why people gather in certain places.
Nevada Time, 2011. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
The Bean, 2012. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Børsen, 2015. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Hermitage, 2015. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Peterhof Palace, 2015. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Notre-Dame, 2016. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Louvre, 2016. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Arc de Triomphe, 2016. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Eiffel Tower, 2016. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Sacré Coeur, 2016. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Church of the Saviour on Blood, 2015. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Basilique Notre-Dame, 2012. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Nathan Phillips Square, 2013. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Stanley Park Poles, 2013. Lightjet print, 24” x 30” & 16” x 20,” Edition of 5 + 1AP in each size.
Dubious Cosmology (2014-15) is a series of photo-based works examining the portrayal of landscape and visual depictions of science fiction in contemporary Western culture. The works consider why humans need to have a dialogue with the unknown, and how this dialogue takes on both rational and outlandish forms. The work consists of tintypes of online-sourced images of UFOs and cyanotypes of landscapes of New Mexico, a place with strong associations with the paranormal. Together, the works create a portrait of modern myth and fringe beliefs, celebrating the narratives humans create around the unknown.
ClassicUFOL_468x366.jpg, 2015. Unique wet-plate collodion tintype, 8” x 10.”
Screen shot 2014-09-25 at 9.55.25 PM.jpg, 2015. Unique wet-plate collodion tintype, 11” x 14.”
PhoenixLights1997_model.jpg, Wet plate collodion tintype, 8” x 10,” 2014
breaking-news-ufo-sighting-cleveland-ohio.jpg, 2015. Unique wet-plate collodion tintype, 8” x 10.”
ARTICLE-BALOON-UFO.jpg, 2015. Unique wet-plate collodion tintype, 8” x 10.”
ufocanada1.jpg, 2015. Unique wet-plate collodion tintype, 8” x 10.”
ufo-sightings.jpg, 2015. Unique wet-plate collodion tintype, 8” x 10.”
Tintype Cluster, 2015. Unique wet-plate collodion tintypes, Dimensions variable.
Mountain, Pueblo de Cochiti, 2014. Unique cyanotype on Stonehenge paper, 22” x 28.”
Power Lines, Roswell #2, 2014. Unique cyanotype on Stonehenge paper, 22” x 28.”
Torrance County, 2014. Unique cyanotype on Stonehenge paper, 30” x 40.”
Power Lines, Roswell #1, 2014. Unique cyanotype on Stonehenge paper, 22” x 28.”
Train, Roswell, 2014. Unique cyanotype on Stonehenge paper, 22” x 28.”
East 26, Chaves County, 2014. Unique cyanotype on Stonehenge paper, 22” x 28.”
Dirt Road, Chaves County, 2014. Unique cyanotype on Stonehenge paper, 22” x 28.”
Geotrope (2012-13) is a zoetrope installation showing changes in the environment across North America. Using 4”x5” positive film, I photographed roadside imagery on a trip throughout Canada and the US to catalogue the changing scenery. The zoetrope spins, forming an animation of the variations in landscape. It is accompanied by three composite images depicting "averages" of the road, trees and horizon across the continent. It is also accompanies by long panoramic collage of postcards and a paper sculpture made of a cut out road atlas. This project speaks to the malleability of our perception of place and distance.
Documentation of Geotrope solo exhibition at the Alternator Centre for Contemporary Art, Kelowna, BC, Jan. 31 - Mar. 15, 2014.
Road, 25 composited images, 2012. Archival inkjet print, 32” x 40,” Edition of 3.
Horizon, 20 composited images, 2012. Archival inkjet print, 32” x 40,” Edition of 3.
Tree, 16 composited images, 2012. Archival inkjet print, 32” x 40,” Edition of 3.
Infinite City, 2014. Postcards collaged on paper.
Infinite City (Detail), 2014. Postcards collaged on paper.
Infinite City (Detail), 2014. Postcards collaged on paper.
Roadmap Cobweb (Detail), 2014. Cut and glued paper, Dimensions variable.
Installation shot, Goetrope solo show, Alternator Centre for Contemporary Art, Kelowna, BC, Jan.-Mar. 2014.
Installation shot, Goetrope solo show, Alternator Centre for Contemporary Art, Kelowna, BC, Jan.-Mar. 2014.
Sightings (2012) is a series of pinhole photographs that examine human encounters with the unknown. Stagings are captured of figures witnessing mysterious phenomena from UFOs or other unexplainable happenings, with effects added through darkroom printing techniques. Photographed with pinhole cameras made by the artist, the hazy aesthetic mirrors the ambiguity of paranormal snapshots online and in the news. An audio piece accompanies this project, entitled Marie Kendel, featuring a story told by two brothers of a ghost they may have seen in their childhood.
Circle Formation, 2011. Unique chromogenic print, 8” x 10.”
Beams, 2011. Unique chromogenic print, 8” x 10.”
Invasion, 2011. Unique chromogenic print, 8” x 10.”
Meteor Shower, 2011. Unique chromogenic print, 8” x 10.”
Sky Manipulation, 2011. Unique chromogenic print, 8” x 10.”
Red Dragon, 2012. Unique chromogenic print, 16” x 20.”
Touching Orbs, 2011. Unique chromogenic print, 8” x 10.”
Lights Over Water, 2011. Unique chromogenic print, 8” x 10.”
Solar Flare, 2011. Unique chromogenic print, 8” x 10.”
Look Behind You, 2012. Unique chromogenic print, 16” x 20.”
Roadside Apparition, 2011. Unique chromogenic print, 8” x 10.”
Ray Over Hills, 2011. Unique chromogenic print, 8” x 10.”
Sugar Refinery, 2012. Unique chromogenic print, 8” x 10.”
Tornado, 2012. Unique chromogenic print, 16” x 20.”
Installation shot, Untapped Emerging Artist Competition, The Artist Project, Better Living Centre Exhibition Place, Toronto, ON, February 2014.
Installation shot, Untapped Emerging Artist Competition, The Artist Project, Better Living Centre Exhibition Place, Toronto, ON, February 2014.
Installation shot, Sightings solo show, Viewpoint Gallery, Halifax, NS, September 2012.
Night Vision (2010) is a series of long exposure photographs of land and water shot in Iceland. Through manipulations of light and exposure at dusk, I aim to make the Northern landscape appear more unusual and expressive than how it might commonly be perceived.
Skagaströnd Beach #1, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Kirkjufell, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Tjörnin, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Icelandic Horses, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Full Moon Snow Storm, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Spákonufell (Day), 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Spákonufell (Night), 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Skagaströnd Beach #2, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Húnafloi, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Fishery Beach, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Myvatn, 2010. Chromogenic print, 16” x 22” & 22” x 30,” Edition of 6 + 1AP in each size.
Installation shot, Snæland: Photographs from Iceland, Photographic Center Northwest, Seattle, WA, Aug.-Oct. 2011.
Installation shot, Snæland: Photographs from Iceland, Photographic Center Northwest, Seattle, WA, Aug.-Oct. 2011.
Installation shot, Snæland: Photographs from Iceland, Photographic Center Northwest, Seattle, WA, Aug.-Oct. 2011.
Installation shot, Annual Photography Exhibition, Ferry Building Gallery, West Vancouver, BC, June 2010.
