Portfolio

Between the Rush observes people making room for an interior life amid the movement, pressure, and public systems of New York City. Through passing gestures, pauses, and spatial friction, the work considers how a person can be shaped by the city without being reduced to it.

I began Black Excellence while searching to understand who I was as a man. As I looked for men I respected, I realized my heroes and role models were already close to me. They were my friends.

Each carried qualities I hoped to embody: kindness, care, integrity, humility, and the determination to keep moving forward. Through them, I came to understand Black excellence through character, through how we care for people and lead with love.

I made most of these portraits shortly before COVID, in my apartment. It was a sacred space to me. Bringing these men into my home made the qualities I admired tangible, present in people I loved.

Photographing them without their shirts brought my own insecurities into the work. As a bigger man, I struggled with the thought of exposing my body to others or to a camera. I am still uncomfortable photographing myself. Looking at these portraits offers me solace. In some way, I live through them.

This project is ongoing. There are more people I hope to photograph, more qualities I hope to recognize and grow toward. For now, these portraits hold something of the men I love and something of me. I hope you see us both.

City as Signal follows the city's messages as they move from instruction into reflection, overload, motion, and structure.

Held at the Edge considers the waterfront as a temporal boundary where water, duration, weather, and human use loosen the apparent permanence of the city.

A study of how objects, instructions, thresholds, and traces of use imply human presence after the frame has emptied.

Coney Island is a public stage that repeatedly fills and empties, where spectacle, work, ritual, play, solitude, and weather occupy the same structures.

Held in View is a 19-image photographic series about the ways public life is encountered through partial views, barriers, apertures, and images already inside the scene. New York streets and Coney Island become shifting fields of access and obstruction, where looking is shaped by architecture, distance, spectacle, and social memory.

Written Over asks who gets to shape the visible city, and what survives when public surfaces are claimed, covered, protected, sold, weathered, and revised.

Known From Here follows New York through crossings, transit, weather, barriers, glass, and incomplete views rather than postcard certainty.

Snow temporarily reorganizes the city. The body moves from interruption and altered orientation through accumulation, public negotiation, maintenance, and finally melting pavement and a changed return to movement.

Kicksville is a still-life exploration of sneakers I admire. I use light, arrangement, and close attention to give them a presence of their own. A pair can seem to lean toward each other, stand apart, or settle into rest. Moving between whole forms and the textures of leather, stitching, and soles, I look for a sense of life in objects that cannot move on their own.

I have photographed New York over many years, often drawn to the places that make me stop and look up. Towers, bridges, monuments and vast interiors change the way I feel my own size within the city. I look for that relationship through a low viewpoint, a small figure, an opening in steel, or the distance across water. Moving between familiar landmarks and structures built for everyday pleasure, A Sense of Scale follows the city as something I stand beneath, move through and see from afar.

This series follows the city as exposure stretches movement into a visible condition. Traffic, transit, pedestrians, wet pavement, architecture, and artificial light pass through the frame as both evidence and atmosphere. The photographs move between readable street spaces and near-abstraction, asking what remains when a city is seen not as a fixed place but as something continually becoming and disappearing.

dear Brooklyn is a photographic letter to the borough, held in neighborhood ritual, trains, thresholds, changing seasons, and the view from home.

Between Two Bridges looks at the waterfront as a lived threshold rather than a landmark view. Bridges arrive as weight, direction, shelter, distance, and atmosphere. People enter the frame as witnesses, walkers, visitors, and temporary occupants of the park. The series moves from structural pressure toward weather, night, and dissolution, allowing the place to remain both recognizable and unresolved.

Across the City brings New York into a wide frame. I follow the relationships between streets, bridges, waterfronts, and distant skylines, letting the eye move through each photograph at its own pace. Changing light and weather shift the city from a place of everyday detail to a distant outline, and sometimes almost out of view.

Flowers in Passing considers flowers as active presences within city movement, maintenance, thresholds, and public attention.

Friction follows care, mechanical intervention, controlled risk, smoke, and spectatorship as one relationship to a machine.