Sometimes there is a hazy, almost tropical light that falls over the Bay Area. The moisture in the air falls on the landscape and makes it appear as a series of two-dimensional planes intricately layered together. When I see this light, I imagine these individual planes of landscape each moving freely along independent trajectories. In my imagination, the landscape becomes one of dislocated landmarks, geography and infrastructure, constantly changing. Within the series Everywhere All at Once I bring to form these imagined landscapes and combine them with intensely starlit skies, highlighting both a personal as well as a collective experience of the world. My goal is to make images that are familiar and dreamlike, evocative of an almost unreachable memory.
Looking out over the landscape the night sky provides a reminder of the smallness of our existence and also the vast possibilities inherent to our experience. It provides a connection between distant individuals, a jumping off point for belief systems, and an interstellar reference that helps us to navigate our world. For me, more than anything, the night sky provides a sense of space and infinity that is at once the essence of openness and possibility and also terrifyingly complex and unfathomable.
I remember as a child the first time I looked intently out into a starry sky. I was away at summer camp up in the San Juan Islands and we were sleeping outside in a field by our cabin. It was dark enough to see the Milky Way; so dense it looked like a large smudge of light across the sky. Our counselor explained to us that the light we were seeing took so much time and crossed so much space that the stars it was coming from may not even exist anymore. I don’t remember when I fell asleep that night, but I know it was awhile that I lay there staring up, my heart pounding, realizing the vastness.

I make the images by first creating drawings on clear mylar. These drawings are then laid on top of light sensitive paper in the darkroom and then the paper is exposed to light. For images with layered landscapes, multiple drawings are placed on the paper which is then exposed at intervals and a drawing removed at the end of each interval. The stars are created by exposing the paper to light through a mask with small holes poked into it. The darkroom aspect of the process creates a photogram negative, which I then scan and invert into a positive image digitally. The final images are pigment prints on archival rag paper.