PROJECT SERIES /
Patterns of Erosion
'Patterns of Erosion' studies time, transformation, and transience—both in the natural world and personal experience. This project began after the profound loss of my father and close cousin in 2021. Grief reshaped my perspective, much like wind and water reshape the land, leading me to examine how time erodes and redefines everything I know.
Erosion is not just a physical process but a slow, relentless force that shapes landscapes and memory. Revisiting these places became a way of reconnecting with my past, where the shifting terrain mirrored the shifting nature of remembrance. Returning was more than observation—it was a spiritual act, a quiet communion with the land and the evolving presence of loss.
I photograph with an 8x10 film camera, which demands patience and precision. Composing each frame requires me to slow down and notice subtle shifts in light, wind, and texture—changes that often go unnoticed. The inversion of these images reflects recurring dreams I had during my grief, in which familiar places appeared transformed. This work extends those visions, turning altered landscapes into something tangible.
'Patterns of Erosion' reflect this slow process—how time leaves its mark, how absence creates form. These images capture the earth's transformation and my own, revealing how grief and time intertwine to create something new. Tracing these changes, I find a quiet acceptance of what has passed, what remains, and what is still to come.
Patterns Of Erosion
Range 220
California Chronicles
Gravity
Range 220, California
Range 220 serves as a captivating training ground where the boundaries between reality and fiction meld. Crafted meticulously by the U.S. Marine Corps in response to the post-9/11 landscape, it was completed in 2011, boasting over 1,500 structures, including a mosque, cemeteries, charred cars, Middle Eastern motifs, and market stalls laden with plastic fruits. These elements combine to construct a simulated Middle Eastern narrative, blurring the lines between authenticity and artifice.
A continuous theater production in this expansive training arena unfolds, akin to duets and arias performed on a dune-covered stage. Cameras are strategically positioned as both observers and directors, orchestrating rehearsals and informing practices for future military operations, notably urban warfare campaigns. The United States' pioneering role in establishing such facilities has catalyzed other nations to follow suit.
The inherent deception within Range 220 prompts me to delve into the intricate interplay between reality and science fiction. Through my art, I explore the complexities of what is genuine and what appears illusory, inviting viewers to ponder the multifaceted nature of this training landscape.
California Chronicles
