My work belongs to a modern folk tradition—one rooted not in idealization, but in direct observation, local materials, and the physical labor of looking closely. Using simple tools, mechanical cameras, and physical constraints, I document built environments, working landscapes, and everyday structures as they exist in real time.

Whether standing on an asphalt shoulder, riding a clanking subway car, or making prints by hand, the work is driven by a desire to record the ordinary world with unadorned honesty. Photography, in this practice, is less an exercise in digital perfection and more a piece of vernacular craft: a way of measuring light falling on pavement, listening to the ambient noise of a town, and making something tangible out of what is right in front of me.

I do not seek to alter or gentrify what I record. The field notes, zines, and photographs exist as living marks of presence—evidence of walking the ground, enduring the heat, and reasoning with myself live in the moment. At its core, this is a simple, portable methodology: a commitment to pay attention to the terrain, shorten the list of what is required to feel whole, and press the shutter quietly, leaving the room looking just as I found it—a little clearer.