My work moves in two directions at once: the search for form within chaos, and the release of what is buried inside form. I photograph artists in New York on 4×5 black-and-white film at architectural sites I have scouted on foot. The Playground (2024–) treats each portrait as a collaboration between the sitter and the structure that holds them — a stairwell, a façade, a courtyard — attending equally to the artist and the architecture, to body and site, to the diasporas a city is composed of and the encounter the camera briefly makes visible. What connects these images is method: analog processes slow enough to demand deliberation, open enough to let something unintended appear.

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