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I came to Persephone as a way to think about power inside a cycle that cannot simply be escaped. Her movement between worlds is imposed and inhabited at the same time. That led to an exploration of what it might look like to find agency within circumstances we cannot fully control.

The phrase “powerful and powerless” gave me a way to stay inside the tension without resolving it into victimhood or triumph.

“(Persephone) was winter, she was spring. When she ascended, the world awoke. When she descended, it lamented. She left; she returned. One year. Fifty. Five hundred. Forever. Powerful and powerless was she.” — Pádraig Ó Tuama, In a Garden by a Gate

Fear Not began with Lilith and Eve. I kept coming back to the old warning that ruin awaits the woman who opens her own eyes.

In these photographs curiosity is something the body does: reaching, tasting, looking, and letting what I see change me. The body moves through fear into knowing.

The current Red Thread edit brings together work originally developed across three related series: Red Thread, It Was Shelter Before It Was a Lie, and Unravel.

Across them, connection persists as visible tension. Thread binds and traces. Protection hardens into identity. Blur and movement loosen the figure. Seen together, the three bodies move through entanglement, shelter, release, and becoming.

Membrane was the first work I made in the river using the process that now underlies much of my practice: carrying something into the water, moving with a material, and letting video frames or a fast shutter reveal what I could not previsualize.

I remember the mist of river water coming through the fabric and the warmth of the sun on my body. I walked out of the river understanding that the experience itself could be the site of the photograph, and that photography might be able to carry things I had not been able to communicate in another form.

Body of Water first emerged as an extension of My Body Is the Land I’m From. I entered the water still thinking about the body and landscape as parts of the same living system.

Once I began working in water, the terms of the work changed. Water stopped functioning as setting and became a condition the body had to enter: permeability, movement, buoyancy, exchange, surrender, response. There is pleasure in that surrender for me—not as display, but in the bodily experience of no longer resisting every force acting on me.

My dear friend Maria invited me to witness a ritual she created. I did not direct her or arrange any part of it. My role was to stay present and make photographs without interrupting what was unfolding.