I am interested in collaborative work.
In high school, cameras became my way to overcome and remember the visual details of my life. Because I have a mild form of prosopagnosia, commonly known as face blindness, I have difficulty recognizing people’s faces out of context. As a child, I (and no one else, it seemed) had a name for this embarrassing, anxiety-provoking condition. But as I grew up, I realized that a camera was the perfect antidote. My Grandfather, Karl Freund, whose career started at age 15, sent me a brand new 4 x 5 Speed Graphic camera. During my senior year in High School, I left school every day at noon to work a local portrait studio in both the developing and printing darkrooms. Despite the difficulty of recognizing faces, I remember sounds, smells, colors, textures and emotional themes. I still vividly recall those smells, colors and emotions of childhood, and THIS is what I attempt to portray in my work. We grow up and begin to realize that while those sensory impressions of childhood may offer us solace, there is the another set of evolving facts which in the slow revelation of adulthood, begin to coalesce into a more accurate reality. For me, reconstructing the past is more like what memoirist Rigoberto Gonzalez describes as digging “through the rubble of memory,” and as children even though we are unable to put words to occurrences, we often sense the highly charged emotional moments in our families of origin. As a memoirist and filmmaker, I walk the fine line between betrayal and portrayal. I strive to maintain an overall aura of respect as I insert myself into my subject’s lives...at times, WITHOUT their express permission. It’s a sacred responsibility, and I do not take it lightly.