Kirstin, Freewheelin’ Farm
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Ned, Blue House Farm
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Ryan, Blue House Farm
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Laura, Everett Family Farm
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Jason, Pie Ranch
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Nancy, Pie Ranch
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Mark, Two Dog Farm
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Nibby, Two Dog Farm
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Jason & Nancy, Pie Ranch Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Ned & Ryan, Blue House Farm
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Mark & Nibby, Two Dog Farm
Lightjet Print 12 X 12 inches, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Installation View #1, Hands
11 lightjet prints, 12 X 12 inches each, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Installation View #2, Hands
11 lightjet prints, 12 X 12 inches each, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.
Installation View #3 (detail), Hands
11 lightjet prints, 12 X 12 inches each, 2008
I am struck by the importance of physical and cultural site-specificity -- the idea of community as a foreign city, as a subculture and as that unique fellowship defined in the day-to-day details of life. My artistic goal is to search for the "communal" in the conditions by which images are formed and defined. Increasingly throughout my practice it has become imperative to collaborate with my subjects; I provide these diverse individuals with the freedom to express themselves without compromising my often-structured presentation. The subject then becomes an art-making participant, allowed to break from uniformity with his or her contribution of costume, pose, opinion, and suggestion. With this symbiotic structure and freedom, the images can coexist side by side as both a comparative taxonomy and a series of true individuals.
I seek to transcend the photographer's traditional role and stress the significance of the collaborative relationship between the subject and myself. These shared responsibilities allow me to make a photograph with my subject, not of my subject. Further illustrating this mutual process is “Hands.” In the valleys of California's Central Coast, I photographed organic farm owners who are active in their hidden community of growers and eaters. Fascinated with their local pride, sense of fraternity, and connection to their customers, I made portraits of surprisingly young people who redefined what it means to be an organic farmer today. I want to be a catalyst connecting these rural subjects to their new audience of people who may have lost touch with the historic roots to the soil that generate the food they consume. Again redefining tradition, these portraits do not present the food the farmers produced nor the friendly faces that greet you but rather each passionate hand that connects to the earth.