Fine Arts, Photography, Street Art
These posters a part of a public street art project. Together they serve as a social commentary on the rigid moral and ethical standards we hold our real life heroes and role models to, how quick we are to villain-ize them and how quickly we turn our backs on them when they fall from grace.
Series of photos to be used across various social media platforms during Spring 2014 to promote Easter and Passover candies.Advertising, Copywriting, Photography2014
When Barbie Millicent Roberts’s parents were killed in a freak hang gliding accident Barbie and long time boyfriend Ken Carson moved into Barbie's childhood home to raise her 8 siblings. Will Barbie be able
to handle being a mother AND a girlfriend? Will Ken's love for Barbie stay strong? Blaine (Barbie's ex) moving in to help out is just the beginning. Find out what happens next on THE DREAM
HOUSE: The Barbie and Ken reality TV ShowDigital Photography, Fine Arts, Photography2012
Set of 5 commissioned post cards for Economy CandyAdvertising, Copywriting, Photography2014
Artists Statement-Behind Closed Doors
Behind Closed Doors sprouted from dual motivations. One root stems from the child that still thrives within me, and the other from the adult in me looking back. Behind Closed Doors answers two separate questions posed by each of these realities:
As any little kid who has seen or read “A Little Princess” or any of the “Toy Story” trilogy has wondered I too needed to know “What do toys do behind closed doors?” Of course, it is impossible to catch them in the act. I like to semi-secretly believe that toys do have innate personalities, needs and wants. Surely they too have secret fantasies and desire, hopes and dreams that cannot be expressed in front of us. I find it hard to believe they fight crime and have tea parties when we’re not looking, since that is what we already make them do. Like anything, I believe toys would have the urge to rebel against societal “norms” and preconceptions and would most certainly act out of their assigned character given the chance. And so when the lights go off and the door is safely closed toys are free to live out their lives as they see fit without our influence. In this body of work I have created the world I think toys live in when no one is looking.
As I babysat my way through college I could not help but watch young children play with toys, which lead me to reflect on my own relationship with the inanimate objects we hold so dear. Toys play an interesting role in all of our lives. As children we use toys to explore our own feelings and emotions. The toy becomes a representation of self. As adults we are, hopefully, more in-tune with who we are and are less in need of the metaphor the toy provides. I never played with toys much as a kid-I preferred make-believe. However, while babysitting in both high school and college I was called on again and again to enact scene after scene with the toy of the week. I began to wonder if, as adults, we opened ourselves up to explore our inner workings as we did as children what would happen?
In Behind Closed Doors I have bridged the gap between these two realities, both exploring what toys might do when we turn our backs as well as how an adult would (age-appropriately) engage in imaginative play. To me these two worlds have become one and the same: toys, like children, yearn to be grown up. And though as grown ups we may yearn to return to the carelessness of childhood I believe this work proves the old adage holds true: “You can never go back”. As can clearly be seen in Behind Closed Doors an adult playing with a child’s toys quickly becomes creepy.Fine Arts, Photography2012
In Grups I have attempted to explicate the gap between childhood, when play comes naturally, and adulthood, when the joys of play are rediscovered as we have children. I have replaced the age inappropriate accessories that make my peers appear to be adults with equally age inappropriate ones. I live in the space between our carefree past and our inevitable return to juvenile-ality in our future. In this I have found that the seriousness that my peers carry themselves with is nothing more than a façade; we are all children at heart.
Many of my models, when handed their respective toys, did not know what to do with them. This loss, or suppression perhaps, of imagination and growth of modesty was surprising. Even more surprising is the small amount of prodding needed to revert the typical 20-something attitude that a large number of my peers carry into an exclamation of “OH YEAH! And then the fire truck saves the people from the car wreck AND THEN…”
I kept the shooting of Grups within the boundaries of the studio in hopes of both giving the impression of fakeness to both parallel the façade under which this group operates as well as to remove any optical distraction. The photographs that make up Grups are about the actions my models are committing, not where they are or why. The toy selection was spurred by what I remember being the iconic toys of my own youth that I continue to see children play with today.
Grups is meant to reinvigorate our overwhelmed imagination and bring a smile to the viewers face as they remember, and hope to relive, their childhood bliss.Digital Photography, Fine Arts, Photography2012
Sample of marketing photographs for out of home advertising company JCDecaux North America.
All photographs on this page are property of JCDecaux.Advertising, Digital Photography, Retouching2014