How would you describe your style?

A 35mm Hollywood dream factory. A hazy, ethereal gaze far from the hyper digital, more towards the cinematic. As a filmmaker and photographer alike, my photos pay homage to iconic films, characters, or eras -- whether as a Lynchian nightmare, or nostalgic, 80’s mob wife retroscape. The combination of filters I use creates various textures and glows, with the intention of creating an otherworldly image. Similar to a well shot film, my goal is to create a desire to step into the frame, or world being depicted.

Who or what inspired you to shoot?

I watch a ton of 60’s, 70’s, 80’s, and 90’s films. As a photographer with a diverse background, I yearn to see a variety of characters on the big screen. A big part of my conceptual process is, not only paying homage to iconic films, but presenting infinite possibilities for the kinds of people who can step into iconic roles. For instance, ​Bonnie & Clyde, From The Future​ featured with Hunger Magazine features intersex actor and filmmaker River Gallo, who portrays both Bonnie and Clyde.


Do you have a favorite photograph?

Prom Flames​ from the ​Carrie, Prom Gone Wrong​ series released with Pulse Spikes is my all time favorite. Horror leads way to so many physical expressions. I love the timing of the blood dripping down actor Keana Marie’s face in combination with her hyper exaggerated reaction. Had it been captured a single moment later, the shot would not have worked, which is why it’s so special to me.

Who is your favorite filmmaker?

I’ve always been entranced by the mind bending, kitschy, sinister work of David Lynch. Mulholland Drive in particular won me over. In general, the film highlights Hollywood’s underbelly and it’s machinations. His films manage to critique Hollywood within the studio system itself, thereby rendering the film thought provoking yet accessible via a Hollywood platform.

Despite this, Lynch doesn’t like explaining or rationalizing his work, and that’s the best part. I believe art should be subject to interpretation, not compartmentalized as an intellectual exercise. I am deeply fascinated by a filmmaker who ignites more questions than answers. I love leaving the cinema with something to think about.


Who are your favorite photographers/cinematographers?

Cindy Sherman and her chameleon like style. I love how she morphed into different characters ranging from Hollywood actresses, to historical figures -- truly iconic for starting the self portrait movement. Nadia Lee Cohen’s work is witty because it reveals the underbelly of the American dream. Her series depicting Palm Springs plastic surgery, spray tan drip moms holding their babies is truly thought provoking.

As for cinematographers, Christopher Doyle’s work on moving film is insanely dreamy. It’s inspiring that he surpassed the boundary of language, having shot most of Wong Kar-Wai’s Hong Kong based films without knowing the language. Matthew Libeque and his work in Requiem For A Dream (2000) is iconic. His innovative fast motion montages and experimental stuttering frame rates visually portray the drug withdrawal the characters face in the film. And that’s great cinematography -- not just a pretty picture, but an image which propels the story forward. 

Any upcoming projects we can look forward to?

Film posters. For actual films coming out this year, and film posters to accompany future photo series. I’m currently waiting to release a Clockwork Orange inspired series/film poster set with actress Keana Marie, which challenges the role of Alex. In terms of filmmaking, I’m working on a Carrie (1976) prom scene inspired music video, to be shot sometime this year.

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