About the Work

About the Books

I came to book arts the long way around, through photography. 

This makes perfect sense to me; photographers make a book-like form every time we assemble a portfolio or construct a wedding album. Pace, sequence and narrative are at the root of the product. But the one thing that has always bothered me about the completed portfolio or album is the lack of permission to touch the image, the paper it was printed on, the emulsion used. Heaven forbid we leave a fingerprint. 

Books, on the other hand, have no such taboo. They are designed to be held, carried and curled up with. They are intimate, transportable and tactile vessels of potential.

The books here are more fun and friendly than they are heavy and laden with meaning. They are explorations of material, structure and process with minimal content, born from the seduction of dimension and movement possible with an artist book. Photographs are usually flat, so to make something to hold, that moves and expands, is exciting. I am equally smitten with paper--the way it folds or doesn't, takes ink or not. Its weight, its drape, its color and texture. Tactile. Touch-able. Portable.

About the Photography

Captivated by Caravaggio’s use of light, Francesca Woodman’s fearless self-examination, Duane Michals’ text and sequences and David Lebe’s light painting, I am a Philadelphia, PA, based creative working with artist books, photography, drawing, digital, non-silver and intaglio printmaking.

A documentarian and storyteller, an editorialist and voyeur, photography is the constant that ties my past to my future. It is an action, a way of being and thinking that informs and enriches my experience of this life. It is a habit, a process so familiar that it sometimes feels like muscle memory. I push the shutter to document; to collect with clarity and accuracy the moments and things that will be transformed by time, memory and sentimentality.

I earned an AST in photography from Antonelli Institute, a BFA in photography from Moore College of Art and Design and an MFA in Book Arts and Printmaking from the University of the Arts. I am also a Fulbright Fellowship recipient to Germany.
I have been published in Down Beat, Jazz Times, The Wall Street Journal and numerous other local and national publications. I have exhibited across the United States, and my work is held in the collections of The Newark Public Library, University of Pennsylvania Van Pelt-Dietrich Library, Print and Picture Collection of the Free Library of Philadelphia, Federal Reserve Bank of Philadelphia, Chemical Heritage Foundation and Museum, Philadelphia Center for the Book as well as numerous private collections.



Why Manhole Covers?

First, they are ordinary and mundane, urban and suburban artifacts. They offer a glimpse into the past and speak of the present. Tugging at my interest in material culture, they also feed my obsessive photographic gathering of like objects. They record time, transformed by trucks and tires and messy road crews. They are icons of industry and logos of past and present companies, artifacts of commerce and invention. They are markers, mandalas and oversized coins. They are diverse and beautiful and serve a range of purposes. They are the same yet different. They are the thresholds to the industrial nether world that lurks beneath our feet.


I see these iron discs as doorways to the subconscious, opened only by experts in the field of personal awareness and enlightenment. I also read them as metaphors of bodily function: Water, Gas and Steam. They scream at me telling me where I am and what I need to do: City and Communication. They remind me to pay the electric and telephone bills. And they make me aware of the simple fact that water, gas, electric, steam and telecommunications come from somewhere, they do not simply appear, it is not magic. I also see them as metaphors for the individual in society; jostled by pedestrians, moved by cars and pelted with various sundry deposits of litterbugs, the individual, like the manhole cover, is invisible in society. We/they come in various shapes and sizes, gleaming and embellished, similar yet different with something unique to offer.


About the Facsimiles

My knowledge of conservation practices combined with my digital imaging skills have made me an asset to museums and libraries seeking book, print and ephemera facsimiles for research and display purposes. Merging modern digital output with traditional art practices, I am capable of producing accurate and functional copies of your books and ephemera. Working from your digital scans and detailed information about paper stock, weight, age and condition, I can determine the best modern paper stock and digital output parameters to produce the best looking facsimile you will ever see. No more embarrassing xerox's, disarming your alarmed display cases or tedious page turning.