2 October, 5:38–5:42 a.m.
16 October, 5:56–6:00 a.m.
13 January, 6:53 a.m.
27 February, 6:14–6:28 p.m.
3 March, 6:04–6:05 p.m.
17 March, 7:30–7:33 p.m.
4 February, 6:23–6:27 p.m.
15 February, 6:30 a.m.
15 December, 6:15–6:16 p.m.
19 June, 9:42–9:53 p.m.
29 August, 8:23–8:28 p.m.
4 November, 6:37–6:39 a.m.
4 November, 6:48–6:49 a.m.
1 December, 8:13 a.m.
21 December, 6:24 a.m.
15 January, 5:45–5:48 p.m.
8 March, 6:22–6:28 p.m.
This work was made in an open space that once held trees: the field outside the house where I live. The field held stands of red pine before white settlers felled them to be used as ship masts. This work is a way to reflect on the absence of the pines; the field has become a place to reflect on what time looks and feels like.
Most of these images are blue and violet color fields: long exposure photographs made before dawn and at the end of dusk. They show arrangements of glass and white paper. In the dark it is difficult to see the difference between glass and paper. As these exposures happen, the quality of light shifts, the sky grows gradually darker or brighter, clouds move, and sometimes I block and shape the light with my body, affecting shadows and reflections in the glass. Colors in these images come from ambient light.
Between these color field images are other images of my apartment and the field. The border between the field and my apartment is porous. I understand all of these images to inform one another as part of a single practice. I am interested in how sustained attention can change the shape the world takes.
May 2023 – present
Southeastern Vermont, Abenaki land