Katie Fenske

Katie Fenske is a self taught photographer, born and bred in Greenville, SC. Seven years ago her daughter came along, which influenced her to become photographer. When she’s not taking photos for herself, she spends her time building machines used for scientific analysis, taking photos for a local publication, or kicking it with her daughter.

The Fork

When I was about nine years old, Ronda came into our lives, married my oldest brother, and became the sister of my dreams.  For 20 years she had my family’s name. I was pregnant with my daughter when she and my brother broke the news their marriage had come to its end. Gutted, I worried I might lose my dream sister. I watched as she moved to and fixed up her house in the country, a place I’d known a little of since I was young. We used to go there for Fourth of July barbecues with her family. She was to share it with my brother once their two kids had grown. I watched as she fell in love with another man; I watched them make the place their home. I photographed their wedding, and I’ve been photographing them ever since. I began to know a lot more of The Fork, Ronda’s name for her now home, and I began to see how I still fit into her new life. She made sure there was still a place for me, something she had always done. In the end I did not lose my sister, I picked up another brother.




To view more of Katie’s work, please visit her website.

Jeanette Spicer

Jeanette Spicer is a New York based visual artist. She is interested in the photograph as an object, a representation, a memory, a death, a trace and it’s ever-changing formal qualities and perception formed by the influence of technology and consumerism. These interests directly inform her aesthetic approach to the work. Her practice is heavily process based, and deeply rooted in collaboration. Spicer has shown her work in several venues in the Unites States and throughout the world. She has been awarded fellowships and residencies at Vermont Studio Center, Brooklyn Art Space, Contemporary Artists Center, and Soaring Gardens Lerman Charitable Trust.

there’s a certain slant of light

there’s a certain slant of light is in reaction to the abrupt ending of a relationship, and subsequent ending of a body of work for which my partner was the main subject. I found myself making photographs to survive. Still, in shock, everything familiar felt and looked and sounded unfamiliar. this struck me, and I started to make photographs of people and places that I knew but photographed them in order to re-familiarize myself. consequently, a few weeks later I attended a residency in which I lived in Vermont for a month in a place I had never been, with people I had never met. I formed quick relationships with a few residents and began to photograph them, to familiarize myself with them – which was a way I had never worked before. I have always collaborated with people with whom I am very close. I also began photographing the landscape, which was brand new to me – to also familiarize myself. this work represents progress, pain, regression, brand new bonds, and revisited lifelong relationships and places of home and of discomfort; and the necessity to push through, and carry on.

To view more of Jeanette’s work please visit her website.

Dorothée Nowak

Dorothee Nowak is a French documentary photographer currently based in Montreal, Quebec. She graduated with a Bachelor of Fine Arts with a major in Photography from Concordia University. Her photographs have been presented in Canada and, featured in publications both printed and online. Coming from Polish origin, she was born in the North of France, a region known for its rich migration history due to coal mining industry. Interested in the subject of displacement and migration, she attempts to grasp upon the narrative of being in-between two cultures and the sense of self within a new environment as well as the impact of the human migration in a new environment.

Ils sculptent les montagnes.

“Ils sculptent les montagnes” is a documentary project about the granite area in southern Quebec, Canada. Stanstead is known for its granite, the Stanstead Grey. The ongoing series focuses on a transformation plant and a quarry in Graniteville.

There, I met David, Gilles and Tom. David and Gilles, are carving stones while Tom works directly in the quarry like his grandfather and father did before him. Two of them, David and Gilles, are carving stones while Tom works directly in the quarry like his grandfather and father did before him. He is always going back and forth between Stanstead and quarries in the USA. As they explained the industry of granite idles because of global business competition and the closure of small quarries.

“Ils sculptent les montagnes” shows how the granite tradition and pride is maintained and how the cultural and geographical space was transformed through the years thanks to the human impact.

To view more of their work please visit their website.

Renaud Lafrenière

Renaud Lafrenière is a young photographer from Montréal, Canada. He is currently completing his BFA in Photography at Concordia University, where he perfects his eye, thoughts and photos and is involved in the community by co-organizing exhibitions and events. His work revolves around the narrative and often takes the form of series. He plays with metaphors, symbols and visual poetry to convey meaning in his work.



Stanstead is a project taking place in a town South East of Québec, a town that is split at its core by the Canada-USA border. During the Wanderlust residency in Stanstead, directed by artist Jessica Auer, Renaud’s focus was put on ideas of surveillance and searching for what’s hidden. Whilst walking around, Renaud was closely looking at all things reminding the obvious but ghostly presence of the international border and it’s structure.

To view more of Renaud’s work please visit his website.

Kris Kozlowski Moore

Kris Kozlowski Moore (b. 1995) is an English photographer based in Manchester. His work reflects on how geographical spaces prompt and engage in conversations specific to that place; whether these be cultural, social, aesthetical or political. His most recent work, Forty Six Guns, explores Switzerland’s idiosyncratic and unassuming gun culture as both its genuine and ostensible subject. The series has been self-published as an edition of 250. Aside from his personal work, Kris received a First Class Honours degree in photography this year and also writes for the likes of The Heavy Collective. He is currently living and working in Manchester, focusing on personal projects whilst also taking commissions.

Forty Six Guns

Forty Six Guns takes Switzerland’s idiosyncratic and unassuming gun culture as both its genuine and ostensible subject. Having one of the highest rates of gun ownership per capita in the world, it is concurrently cited as one of the world’s safest countries to live in. Partly rooted in a militia structure of the armed forces, the vast majority of the military are composed of conscripts where personally assigned firearms are stored at home. Deeply embedded traditions of hunting, recreational and competitive shooting further an abundance of firearms throughout the country as well as establishing an active and widely embraced part of their national identity.

The publication of Forty Six Guns consists of new photographic and found archival works that collectively construct a personal and non linear narrative through a multitude of indexical references to Swiss gun culture. The title derives from the approximate number of privately owned firearms per one hundred people in Switzerland, although this statistic does vary.

To view more of Kris’ work please visit his website.

Debe Arlook

Debe Arlook (b. New Jersey) is a photographic artist and printer based in Los Angeles. Combining a B.A. in filmmaking, a minor in psychology (American University, Washington, D.C.), she explores her fascination of man’s frequent and distorted perception of reality. Early on, with respect for street and documentary photography, Debe worked in remote jungles of Nicaragua for United Cerebral Palsy documenting their expeditions.

Years later, after delving into spiritual psychology, her work shifted to conceptual and contemporary photography, altering the line between fact and fiction through landscape, abstract and surrealism. Each series reflects her fascination with communication, interpretation and self-awareness using subjects from domestic and urban landscape. Her work has been published internationally; exhibited at the San Diego Art Institute, the Annenberg Beach Community House, Louis Stern Fine Art, the Pacific Design Center, Photo Independent and numerous others.

Are you happy

Just do what I say

I set myself up well

Scene & Heard

There is no meaning but the meaning we create.

With a background in filmmaking and psychology, i’m fascinated by man’s frequent and distorted visual and cognitive perception of reality. Decisions and interpretations (“wrong” or “right”) are made based on the shoes we’ve walked in until that very moment. We’re often convinced we understand one other and communicated (or hidden) what we desired even when it isn’t so. Our shoes are different and impossible to switch having been shaped by unique experiences.

Scene & Heard has become a study of sorts, by playing with viewer perception and my own psyche in process of the making. I pair California desert landscapes of near-empty spaces, revealing faint traces of human interaction, with completely unrelated snippets conversation (the title of the photographs) overheard and collected in the city of angels. They are paired for the viewer to summon significance when there’s none to be had. New meaning is conjured to the image and new life to the bits of conversation removed from context. By combining the concept of reality with gentle lies inherent of photography, scene & heard demonstrates the everyday (mis)perceptions we often create.

Your lips are too red for lipstick

The fabulous Mr. Blake

I do the walk of shame at least every three months

West coast knows nothing about east coast

There is a beauty in the breakdown

Your concepts about yourself are wrong

I struggle being able to express myself

The girls in the Jewish home are looking

It was a complete mishap

Anybody want some time

I don’t know where he is but he’s gone

I’m just making people aware oh their surroundings

To view more of Debe’s work please visit her website.

Anya Rosen

Anya Rosen grew up in Los Angeles, CA and graduated with a BFA from Carnegie Mellon University in Pittsburgh, PA. In 2013, while working as an artist assistant in remote New Mexico, Anya began developing a career in agriculture. Living without modern conveniences encouraged her to investigate where food, fuel and fabricated products come from, and where they go once they have been expended. She has since worked on several farms across the U.S. and is currently an assistant manager of vegetable production at Willowsford Farm in VA. In addition Anya has completed artist residency programs in remote areas of Iceland and Colombia, and has exhibited work in the 2017 Cementa Festival in Kandos, NSW, Australia. Anya currently lives and works in Loudoun County, VA where she documents rural communities and contemporary agriculture through painting, photography, and sculpture.


Land for Sale by Owner: The Romance of the Exurbs (Loudoun County, VA 2017)

When I moved to Loudoun County I was disappointed. The sameness of the houses and the newness of the fabricated landscapes felt void of character. Machines worked diligently in the background, shredding the natural habitat mindlessly, shaping the monotonous scenery that was unfolding in every direction. Yet, there was a level of transparency to the region that surprised me, as if you arrived at a restaurant and saw dirty cookware scattered about the dining room. Neon orange fencing, stacks of plywood, and road work signs broke the continuity; empty plots sat awkwardly midst rows of finished houses like gap teeth.

It was by way of this transparency that I was eventually able to embrace my new home. After months spent watching my surroundings evolve, I came to value the opportunity of living in such close proximity to this radical overhaul of the landscape. I was witnessing a pivotal moment in the history of the place. I was able to see simultaneously what the land once was, and what it was about to become.

Through an investigation of biological and ideological life cycles I have cultivated a preoccupation with documenting birth and death. I look for instances where the end of a life is connected to the beginning of another. For example, abandoned buildings and spaces demonstrate the fading of a human culture and simultaneously the formation of a new ecosystem. These structures are physically decomposed by fungi, bacteria, insects, and mammals, which, in turn, disintegrates their human significance. Land development indicates the opposite process – eradication of the natural habitat and establishment of a human community. My work is both documentation and speculation of the impressions left as a result of these mortal exchanges.

I am driven by the notion that death and birth are not discernible moments but processes. Still, my desire to distill and express evidence of these perceived singular occurrences is insatiable. I am afraid to die but I am also equally afraid of living in denial of my mortality. Identifying the exact “time of death”, however hypothetical, is a kind of paranoid reassurance that I, and the contemporary society in which I am a part, will one day cease to exist. My obsession with collecting evidence indicating a passage of time serves as a reminder that the world will continue on.

My work regards the absurdity of permanence in the natural world.

To view more of Anya’s work please visit her website.

Ben Davis

Ben Davis recently moved to New Jersey after graduating from Rochester Institute of Technology (RIT) with a BFA in Fine Art Photography and a BS in Photographic and Imaging Technologies. In addition to his normal school work he was an editor of Draft 13, an annual student run publication at RIT. He is a visual artist working in the mediums of photography and bookbinding. His current focus is still life images, whether they are found or constructed. The work he creates seeks to show objects or everyday scenes from an alternative perspective, giving a new meaning or life to them. He is consistently drawn to the mundane in an environment. The photographs give a personality to the objects and act as a portrait.

Garden State

The main goal of this project was to begin to explore the urban sprawl of Jersey, also known by its contrasting nicknames of “Garden State” and “Armpit of America”. After graduation, I immediately moved to New Jersey to begin a new job. The project began as a way for me to familiarize myself with my new home and to stay in practice. I did this by shooting every day after work in my neighborhood and the surrounding areas. It was also a therapeutic way for me to have something familiar after moving to a new place. These sometimes minimal and simple images are my way of picking out details in an over commercialized environment and expressing how I view my new temporary home. I am naturally drawn to the seemingly ordinary in our everyday settings and enjoy the challenge of making it photographically interesting.

To view more of Ben’s work please visit his website.

Alec Smith

Alec Smith (b. 1991) is a Kansas native born and raised. Holding his BFA from the University of Kansas, Smith is an artist who works primarily with photography. A majority of his bodies of work flesh out into book form. Central to his practice is exploring love, death, time, place, dimensions, and the sensation of belief that can be experienced within a photograph. Alec has been a part of numerous group shows around Kansas and Missouri. While living in Kansas City he was an active member of Archive Collective who provides opportunities for the community to engage with photography by hosting group critiques, gallery visits, artist talks, local and traveling exhibitions, studio visits, and meet-ups. In 2016 Archive Collective received a Rocket Grant from the Charlotte Street foundation for an art book publishing project. In 2017 Alec moved to Philadelphia, Pennsylvania where he currently lives and works.

I wish you love and happiness

One of the surest axioms of science is that energy never dies. Within a photograph the elliptical narrative is contained and can be revisited. It is not reality. It is not memory. It is ideas of existence.

Growing up with my dad as a taxidermist, I was simultaneously surrounded by death and preservation. With his passing of cancer in 2014 I began using photography to interact in the preservation of his death.

Unbalanced emotions of fear and love pursue the comprehension of the loss of my dad. What does death mean? Why are we desensitized in viewing it? Yet, at the same time, it goes unmentioned how it surrounds us?

Attempts at communication between dimensions of physical and mental. These photographs are how I allow the subconscious to communicate with the conscious in processing the grief of loss.

To view more of Alec’s work please visit his website.

M Katie White

M Katie White is a photographer and mixed-media artist currently based in Iowa City. She graduated with a BFA from The University of Akron in Ohio, and is a recent graduate from The University of Iowa, where she received her MFA. Her work focuses on the intersection of environmental activism and personal issues, pulling inspiration from locations with a connection to her life. This work is grounded in scientific research, pulled from sources like Environmental Protection Agency and assorted conservation organizations. In addition to making these issues more accessible, her work communicates an important message: We must all work together to ensure a more sustainable future for all of us.

Great Lakes Great Mistakes

For many years when Katie was little, she spent her summers playing on the shore of one of the largest bodies of fresh water in the world. No matter how often she visited, there was always something exciting about the lake. Bigger than anything else she had ever known, it was as vast as you would imagine outer space could be. Great as it was, the edges were hers. From the shore to the buoys marked No Swimming Past this Point, that was home. But even in that safe space, Lake Michigan could remind her of its true size and her place in it. Even in such depths, nothing stays hidden forever.  On the days when fish kills plagued the lake, the shores were choked with bodies.  Katie and her brother would wade through the glassy-eyed corpses until they reached the open water. These fish kills were mostly caused by pockets of industrial pollution being stirred up in the water — an occurrence that continues to this day. They’d do their best to pick past, but it was impossible to avoid touching them. She still remembers the feeling. Cold, slick, and still. The feeling of a secret brought to the surface.

The Great Lakes face a long history of industrial pollution. Katie’s main focus revolves around what the EPA considers to be the Great Lakes Areas of Concern (AOCs). It contains a list of 27 rivers that flow into the Lakes, most of which are or have been areas of industrial and chemical pollution. They range from Michigan, Ohio, New York, Wisconsin, Indiana, Pennsylvania, and Illinois. Since 1987 when the Great Lakes Quality Agreement was formed, the EPA has delisted only four of these rivers.  The Great Lakes make up 95% of the US’s fresh water supply and are places of vast but fragile biodiversity. Due to climate change, the world’s fresh water is decreasing at an alarming rate — making conservation more vital than ever. Growing up, Katie always heard the old Michigan slogan, “Great Lakes Great Times” — a hopeful message meant to draw people to these wondrous bodies of water. She wants to protect that.
Katie’s goal goes beyond raising the alarm and revealing the issues facing the Great Lakes. She want to show you how you can help. She wants to have hope that even in this political climate, we work together to restore the Great Lakes and ensure a better future for all of us.

To view more of Katie’s work please visit her website.

Margaret Murphy

Margaret’s photography celebrates the distinguishing characteristics of geographic places – usually cities – often focusing on color, form, light and shadow. Her mode of engaging with new places leads her to understand a location through her photographic eye. She shoots in both film and digital as well as with her mobile phone, her belief being the best camera you own is the one you carry with you at all times. Margaret was born and raised in Washington, DC. She earned her BFA in Photography from SUNY Purchase School of Art+Design in 2013. She currently works as a Photo Editor in Venice Beach. Her work has shown in the DC area, including Latela Gallery and Multiple Exposures Gallery.


Margaret’s project titled HAPPY2BEHERE, most recently shown with Brooklyn based community gallery space Paradice Palase, explores Los Angeles through her phone lens as she adjusts to her new home. Her picture-making process is natural and off the cuff, capturing images in traffic or walking to work. As an East Coast transplant, she is drawn to the light of the West Coast, the mid-century architecture of Los Angeles and indigenous plant life of Southern California. The excitement of visual discovery and appreciation of those moments are what best motivate Margaret’s photography.

To view more of Margarets work please visit her website.

Wiktor Kubiak

Wiktor Kubiak was born in 1992. He is a student of the Institute of Creative Photography in Opava, Czech Repubic. Wiktor is currently based in Katowice, Poland and currently works for the news agency EDYTOR.net. He is most interested in documentary and reportage photography. Today we share his series, You Are Never Fully Dressed Without A Smile.

You Are Never Fully Dressed Without A Smile.

The series presents everyday life in one of the biggest holiday resorts in UK. Butlins is very popular place for english people to spend their holidays. Most of the employees come form Poland and Hungary, trying to save up some money and live better lives then in their native countries. They live inside the resort and stay in former chalets. Most of the people who came there had planned to stay for short period of time but the facilities inside the resort made them stay sometimes for years.

To view more of their work please visit their website.

Lawrence Sumulong

 Lawrence Sumulong (b. 1987) is a Filipino American photographer and Photo Editor with Jazz at Lincoln Center based in New York City.

In 2015, The Lucie Foundation shortlisted him as an “emerging talent with vision and dynamic ideas that challenge and progress the art form of still photography into work that compels”. In 2016, he was a finalist at the Sony World Photography Awards in the Professional – Conceptual category and awarded an Allard Prize, a Foundation for Contemporary Arts Emergency Grant as well as En Foco’s inaugural Foto Legacies Fellowship, one of New York City’s leading clearing houses and supporters of photographers of color. He is nominated for the World Press Photo Foundation’s Joop Swart Masterclass in 2017 by photography scholar Mariko Takeuchi & Head On Photo Festival Director Moshe Rosenzveig.

Trapo, Sepulcher

As a Filipino-American, my approach naturally emerges from that attenuated subject position. I am currently creating photographs through the intersection of digital and alternative analogue techniques to report the news while concurrently reconstituting it to allow for a more self-reflexive gaze in which photographer, subject, and audience member are made cognizant of the complex ways in which we all reproduce and consume documentary imagery.

In both “Trapo” and “Sepulcher”, I’m using the polaroid emulsion lifts as a means of literally showing photography’s malleable relationship to verisimilitude or the appearance of truth and reality.

“Trapo” (2016) began as a collection of political posters and scenes that I found in the Philippines. Taking an iconoclastic approach and engaging in the practice of damnatio memoriae, I am presenting images of deterioration as a means of revealing an entrenched feeling of distrust towards a historically corrupt political system.


Understood in the context of the recent 2016 Philippine presidential elections, ‘Trapo’ intends to visually represent the country and its candidates’ cultural amnesia and perverse revisionism in regards to the 12 year violent dictatorship of Ferdinand and Imelda Marcos and the corruption ridden track records of subsequent politicians and presidents.

To that end, I shot the images digitally, processed and printed them with expired Polaroid 600 and SX-70 film, and lifted the emulsions onto recycled, unbleached paper stock made in the Philippines. The title takes its name from the Tagalog word for a torn cleaning rag or a crooked politician.

“Sepulcher” (2017) places the polaroid emulsion lifts in press frames. Each artifact overlays scenes from the very popular TV police drama “Ang Probinsyano” with family pictures of individuals killed in President Duterte’s drug war. As a type of scapular, these objects are meant to be both reverential, meditative, and critical of the public’s enchantment with scripted heroism in the face of real life atrocity.

To view more of Lawrence’s work please visit his website.

Retha Ferguson

Retha Ferguson is a Cape Town based photographer interested in ways to visually understand the world through place, identity and history. She has been a prolific documentary photographer since 2009, and has exhibited in South Africa, Lesotho, Georgia and France. Her work ranges from portraiture, to candid street shots and abstract shape and colour. Rather than formalistically limiting herself, she chooses to focus on themes and locations and uses diverse visual modes to capture the mood of an idea or place. She is currently pursuing her masters degree in visual history at the Centre for Humanities Research, University of the Western Cape. Her masters project concerns the history of Voortrekker Road as a site of fractured negotiation within South Africa as a transitional society, and approaches the topic through a multidisciplinary filmic approach.

How We Lived For Saturdays – Killarney

How We Lived For Saturdays is a contemplation on the ways in which leisure time is digested in post revolutionary and transitional societies. The relationship between freedom from and freedom to is used as a starting point, to consider the process by which the search for self determination is a continuous endeavour never readily delivered by democratic transitions. Free time is explored as a transitory moment in which the hopes, dreams, disappointments of freedom can be expressed in a moment of temporal autonomy. In the Killarney project specific attention is paid to masculinity in post-apartheid South Africa, and how it is expressed on weekends through Cape Town’s drag racing culture.

To view more of Retha’s work please visit her website.

Jasper Muse

Jasper Muse was born in Maine, and is currently living and working in NYC. He studied photography with Frank Armstrong and Stephen DiRado, and learned from many peers. Jasper can be found on instagram @jasperscamera

There is no way to avoid being separated by them

A parade of beings, living and nonliving, that carry a common pain like a rope tying them. They are not in a march, they are ascending and yearning for an end where they become one body, free and light.

Hey Jasper, can you speak about what initially inspired you to create this body of work?

In Texas, I got to see a haunted house being put up. It was noon time and I took pictures of these violent scenes during the daylight and out of the context of scared and laughing people it felt sorrowful. It might be too generous to extend the idea of feeling for something like a fake severed head, but I thought about them being damned as objects, they always have to perform this ecstatic eye-rolling pain. This became a thought experiment to treat these gruesome mass-produced objects with a degree of seriousness and dignity. 

In our culture, I feel like costume masks are perceived as kitschy and humorous. What are you trying to unveil about the human condition through these photographs of masks?

I don’t have an answer to what is unveiled about the human condition here so I can only talk about what I find interesting about masks.

There is this funny phrase I’ve heard from photographers that she “really let down her mask”, this idea that we have a “true” face, something unguarded within us that can be captured in an image. I don’t fully believe in this. We desire for something essential as a soul, and can only come very close to that thing– people can’t be completely unmasked. Costume masks are appealing to me in the way they cheat this desire, in the way eyes that peer through holes can somehow be deeper and sadder or more piercing. The human face behind the mask becomes in my mind a placeholder for the soul. I’m always excited by the image in this series of a man wearing a chrome skull mask to see his blue eyes and the texture of his skin for these reasons.

Masks and head-objects are fundamental to human culture, and I wanted to re-engage these kitschy things with that eternal-ness, and to treat them as having potent spirits and energies. I think this is largely the photographic mission for me, to reattach banal disembodied things to something powerful.

In this series of photographs, I also see that you have interwoven images of physical pain with masks or prosthetic body parts. Can you describe the symbolism behind this? 

Symbolism is difficult. I’ve never connected with symbolic interpretations especially in photography because of its relatively direct nature. There’s too much intellectual neatness in naming the symbolic, in saying “these oranges on the desert ground symbolize our cruel break from nature” or something like that. Where do you go from there? It only seems like it satisfies momentarily a logical part of the brain.

The series expanded from solely being about Halloween stuff from this sign I saw that said “all beings are of the nature to experience illness, there is no way to avoid being separated from them” (the sign was held by a Buddhist group at a Day of the Dead parade in Tucson where I took a lot of these pictures). So from this, I wanted the feeling of “all beings” and I wanted the feeling of separation or lack. Every image in the series has a twin, with exception to the rooms, which I imagine as chambers that gather the energies and emotions of the beings.

Hopefully the real and the fake complicate each other. Maybe the girl with the black eye looks more real than now after just seeing a fake head or maybe the black eye looks completely like makeup. In contrast, the fake head in the bush seems to contain so much life in it. I’m not trying to devalue the real but instead trying to reach towards something inherent in all things.

As a photographer, the camera allows you to unveil what you see, but behind the security of the camera— it’s almost as if the camera acts as a sort of mask. Can you discuss your personal involvement in these photographs?

A camera mask would be a powerful object I would love one. You could go to a party and become this cipher for photography and people could interact with not you, but the camera. I agree with the idea of the camera being something to hide behind (like a submarine maybe?).  Photography is sadly not a very good way to be with another human being or even a non-living thing. It’s pleasurable but desperate, and I wonder sometimes if my drive to photograph is coming from the anxiety of being in the world– not meaning making, but a repetitive palliative action. This is all forgotten when I take one of those rare beautiful images that make the effort feel purposeful for a while.

In regards to personal involvement, I’m still shy towards people, I feel very conscious of the question in their head “what about me begs for a photograph”. People in costume are great because they are exceptional in some way and photography feels normal to the situation. At the least, I try to be earnest about why someone is beautiful. Beyond interacting with people, I don’t feel like I’m “in” these images, but I share many of the conditions of the subjects and I feel a shared sorrow with them. I know I just trashed symbolism but sometimes I feel like pointing at an image and saying that feels like my heart. 

What are you hoping your audience will learn through these images?


Can you briefly talk about what you are working on currently?

I have an ongoing series of wrestling pictures from House of Glory matches in Queens that I’ve had a lot of fun shooting. They’re intimate and sometimes sculptural, and showcase pro wrestling as a dramatic art. Check them out on my website!

To see more of Jasper’s photographs, please visit his website.