As long as I can remember, I have been a collector. It began by stuffing insects and little items into my overall pockets as a child, and developed into a fascination with archiving and recording by using my camera as the vehicle.

In high school I was mesmerized by documentary film-making and wondered if the still image could carry as much weight. I began investigating how historically monumental events were documented, how even the most seemingly insignificant event could be immortalized by an iconic photograph. I became intoxicated by photographers like Nan Goldin and Henri Cartier Bresson, who, as a fly on the wall of humanity, were able to demonstrate the essence of a moment, a person, a situation. I began to understand my vision: an ethnography achieved photographically.

I began photographing all the time: in bars, at work, walking the streets. I found that I preferred to photograph subject matter that could commonly be perceived as ugly: found and discarded objects, dingy bars, dead animals, bones, non-traditional models. I want to photograph what is real, and capture in as raw of a form as possible. I want the photograph to tell it’s own story.

I photograph every day: live music, portraits, landscapes, bars, roadkill. Really, whatever comes up.