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The Sunroom

In Flowers for All of Us, I explore the dynamics of familial relationships within the domestic sphere. I structure the images in such a way that ordinary spaces expand into broad tableaus, and I allow spontaneous moments to occur within a framework of orchestrated poses. These events become a reflection of the way in which the social expectations governing family interactions are not always sufficient to describe the reality of family life. Unexpected vibrancy breaks through the subjects’ attempts at perfection. Relationships are reinforced by physical connections and complicated by spatial separations, and within each scene, I call both time and space into question and each must be reevaluated. Situated at the intersection of the surreal and the mundane, Flowers for All of Us analyzes the friction between the way we plan to act and the moments in which we lose ourselves.




The Green Thumb

In Flowers for All of Us, I explore the dynamics of familial relationships within the domestic sphere. I structure the images in such a way that ordinary spaces expand into broad tableaus, and I allow spontaneous moments to occur within a framework of orchestrated poses. These events become a reflection of the way in which the social expectations governing family interactions are not always sufficient to describe the reality of family life. Unexpected vibrancy breaks through the subjects’ attempts at perfection. Relationships are reinforced by physical connections and complicated by spatial separations, and within each scene, I call both time and space into question and each must be reevaluated. Situated at the intersection of the surreal and the mundane, Flowers for All of Us analyzes the friction between the way we plan to act and the moments in which we lose ourselves.




Grandmama's Sunroom

In Flowers for All of Us, I explore the dynamics of familial relationships within the domestic sphere. I structure the images in such a way that ordinary spaces expand into broad tableaus, and I allow spontaneous moments to occur within a framework of orchestrated poses. These events become a reflection of the way in which the social expectations governing family interactions are not always sufficient to describe the reality of family life. Unexpected vibrancy breaks through the subjects’ attempts at perfection. Relationships are reinforced by physical connections and complicated by spatial separations, and within each scene, I call both time and space into question and each must be reevaluated. Situated at the intersection of the surreal and the mundane, Flowers for All of Us analyzes the friction between the way we plan to act and the moments in which we lose ourselves.




The Portrait, The Dance

In Flowers for All of Us, I explore the dynamics of familial relationships within the domestic sphere. I structure the images in such a way that ordinary spaces expand into broad tableaus, and I allow spontaneous moments to occur within a framework of orchestrated poses. These events become a reflection of the way in which the social expectations governing family interactions are not always sufficient to describe the reality of family life. Unexpected vibrancy breaks through the subjects’ attempts at perfection. Relationships are reinforced by physical connections and complicated by spatial separations, and within each scene, I call both time and space into question and each must be reevaluated. Situated at the intersection of the surreal and the mundane, Flowers for All of Us analyzes the friction between the way we plan to act and the moments in which we lose ourselves.




Homeschooling

In Flowers for All of Us, I explore the dynamics of familial relationships within the domestic sphere. I structure the images in such a way that ordinary spaces expand into broad tableaus, and I allow spontaneous moments to occur within a framework of orchestrated poses. These events become a reflection of the way in which the social expectations governing family interactions are not always sufficient to describe the reality of family life. Unexpected vibrancy breaks through the subjects’ attempts at perfection. Relationships are reinforced by physical connections and complicated by spatial separations, and within each scene, I call both time and space into question and each must be reevaluated. Situated at the intersection of the surreal and the mundane, Flowers for All of Us analyzes the friction between the way we plan to act and the moments in which we lose ourselves.




Shabbat Dinner

In Flowers for All of Us, I explore the dynamics of familial relationships within the domestic sphere. I structure the images in such a way that ordinary spaces expand into broad tableaus, and I allow spontaneous moments to occur within a framework of orchestrated poses. These events become a reflection of the way in which the social expectations governing family interactions are not always sufficient to describe the reality of family life. Unexpected vibrancy breaks through the subjects’ attempts at perfection. Relationships are reinforced by physical connections and complicated by spatial separations, and within each scene, I call both time and space into question and each must be reevaluated. Situated at the intersection of the surreal and the mundane, Flowers for All of Us analyzes the friction between the way we plan to act and the moments in which we lose ourselves.




The Reading Room

In Flowers for All of Us, I explore the dynamics of familial relationships within the domestic sphere. I structure the images in such a way that ordinary spaces expand into broad tableaus, and I allow spontaneous moments to occur within a framework of orchestrated poses. These events become a reflection of the way in which the social expectations governing family interactions are not always sufficient to describe the reality of family life. Unexpected vibrancy breaks through the subjects’ attempts at perfection. Relationships are reinforced by physical connections and complicated by spatial separations, and within each scene, I call both time and space into question and each must be reevaluated. Situated at the intersection of the surreal and the mundane, Flowers for All of Us analyzes the friction between the way we plan to act and the moments in which we lose ourselves.




Passing Down the Family Collection

In Flowers for All of Us, I explore the dynamics of familial relationships within the domestic sphere. I structure the images in such a way that ordinary spaces expand into broad tableaus, and I allow spontaneous moments to occur within a framework of orchestrated poses. These events become a reflection of the way in which the social expectations governing family interactions are not always sufficient to describe the reality of family life. Unexpected vibrancy breaks through the subjects’ attempts at perfection. Relationships are reinforced by physical connections and complicated by spatial separations, and within each scene, I call both time and space into question and each must be reevaluated. Situated at the intersection of the surreal and the mundane, Flowers for All of Us analyzes the friction between the way we plan to act and the moments in which we lose ourselves.