STUDIO
Poetry, photography, and artificial art.
Work made through image, place, embodiment, memory, weather, and attention. The forms meet here without needing to explain one another or prove professional utility.
POETRY
POEM
White Sap
A euphorbia’s toxic latex becomes a study of rooted defense: when life cannot flee, the wound itself creates distance.
PHILADELPHIA · DAWN
Public water, civic memory, and the freedom to remain.
From LOVE to Three Rivers, 5:25 A.M. follows a dawn walk from LOVE Park to Logan Square, where public beauty and public abandonment occupy the same infrastructure.
Philadelphia, Dawn keeps the complete eighteen-photograph sequence in capture order.
Philadelphia, Election Day turns from the fountain to Octavius Catto, suffrage, City Hall, and the distance between civic ideals and their protection.
The longer civic and travel argument appears in A Republic Under Load.
PHOTOGRAPHY
Photography organized by sequence and encounter.
Botanical Studies attends to structure, defense, surface, and the unstable border between specimen and encounter. Puerto Rico, Overnight uses abrupt arrival, heat, infrastructure, distance, and departure to make a compressed place record.
ARTIFICIAL ART
Machine-made studies, human-directed.
Visual sketches and concept studies developed through generative systems, then directed, selected, revised, and curated as part of a broader creative practice.
ON ITS OWN TERMS
Attention is the standard.
A poem does not have to become an argument. A photograph does not have to explain the encounter that made it possible. The work here is judged by what its form can carry, what sequence changes, what an image withholds, and whether attention deepens on the second look.
Poetry, photography, and artificial art ask for different kinds of rigor. They meet here because each begins by looking closely enough that the obvious account stops being sufficient.
For authorship, provenance, and AI-contribution standards, read the Colophon.