I'M A PHOTOGRAPHER AND A WRITER, AND MY WORK HAS TAKEN OVER THE YEARS MANY DIFFERENT FORMS.

I WORKED IN A LOT OF DIFFERENT MEDIA, FILM, VIDEO, PERFORMANCE.

BUT THE CENTRAL QUESTIONS OF PHOTOGRAPHY ARE ALWAYS AT THE HEART OF IT, WHETHER IT IS IN PRINT FORM OR NOT.

AND SOME OF THOSE QUESTIONS FOR ME ARE, YOU KNOW, WHAT ARE THE ETHICS OF PHOTOGRAPHY?

WHAT DOES IT MEAN TO REPRESENT SOMETHING?

WHAT DOES IT MEAN TO SORT OF QUESTION REPRESENTATION.

HOW TO HONOR SOMETHING.

MY CURRENT WORK IS VERY MUCH IN PROGRESS NOW IS MEDITATION ON AGING.

I'VE RETURNED TO USING A VIEW CAMERA IN MY WORK, WHICH IS SOMETHING I TRAINED WITH, YOU KNOW, 30 YEARS AGO.

AND I KIND OF RETURNED TO IT FOR A NUMBER OF REASONS.

I LIKE THE PACING OF IT.

I LIKE THE SORT OF WORK FLOW AND WORK AT AN INTENTIONAL WAY.

THE WORK ITSELF SORT OF TAKES SEVERAL DIFFERENT SUBJECTS AND WORKING METAPHORICALLY WITH THE IDEA OF AGING, BUT PARTICULARLY BEING A WOMAN WHO IS AGING.

THE WORK BEGAN IN THE PANDEMIC WHEN WE WERE ALL SORT OF THROWN INTO THE GREAT OUTDOORS, AND I DISCOVERED THIS GEOLOGICAL SORT OF FORMATION THAT IS VERY MUCH IN THIS PART OF OHIO.

THEY'RE CALLED COMPLETIONS.

AND I WAS INCREDIBLY MOVED BY THEM.

IN SOME WAY, THE PROJECT HAS BEEN KIND OF UNPACKING MY FASCINATION WITH THEM.

BUT THEY ARE THESE ROCK FORMATIONS THAT EMERGE OUT OF SHELL.

ESSENTIALLY WHAT HAPPENS IS LIKE BIOLOGICAL MATTER WOULD GET STUCK BETWEEN THE SHEETS THROUGH THE SORT OF MOVEMENT OF THE RAIN AND DIFFERENT MINERALS.

THESE ROCKS WOULD GROW, AND THEN YOU EVENTUALLY WOULD EMERGE FROM THE SHELL.

AND WHEN I SAW THEM, I WAS JUST INCREDIBLY MOVED BY THEM.

ON ONE HAND, THEY'RE MONUMENTAL.

THEY'RE NOT SMALL.

AT THE SAME TIME, THEY'RE INCREDIBLY FRAGILE.

FOR ME, I JUST SAW THIS KIND OF VERY POWERFUL IMAGE OF LIKE WHAT IT MEANS TO AGE AS A WOMAN, YOU KNOW?

IN SOME SENSE, THE SORT OF -- YOU KNOW, I'M THINKING VERY PERSONALLY NOW.

I FEEL MONUMENTAL AT THIS AGE, AND AT THE SAME TIME, I FEEL LIKE DEEPLY, DEEPLY VULNERABLE, SORT OF IN MY ATTACHMENTS TO THE WORLD, IN MY BODY.

I DON'T THINK ABOUT MY WORK IN THE KIND OF ACT IN THAT SENSE THAT IT IS REALLY MEANT TO BE STRATEGIC IN SOME WAYS.

BUT I DO THINK OF IT AS BEING DEEPLY POLITICAL.

SO IN THAT SENSE, I THINK THERE ARE MANY ARTISTS OUT IN THE WORLD WHO ARE SORT OF --THAT SORT OF LINE BETWEEN TAKING ACTION AS A CITIZEN AND SORT OF WHAT THEY DO IN THEIR STUDIO IS VERY THIN.

I GUESS I SEE MY WORK AS SORT OF HOLDING A LOT OF MY OWN VALUES, YOU KNOW, BE THEY POLITICAL, BE THEY GET THE SORT OF POLITICS OF IT, BUT I WOULDN'T SAY IT COMES FIRST.

A PART OF IT IS BECAUSE, YOU KNOW, I LOVE WORKING WITH THE MATERIALS I WORK WITH.

I LOVE THE SORT OF ASPECT OF IT.

BUT THEY ALWAYS SORT OF BEGIN --THEY DO BEGIN WITH QUESTIONS ABOUT HOW CAN I KIND OF LIVE IN THE WORLD AS A CITIZEN AND LIVE IN THE WORLD AS AN ARTIST.

THE FIRST BOOK I WROTE IS ABOUT MY DAUGHTER'S ADOPTION, AND A PART OF IT WAS I WAS REALLY INTERESTED IN THINKING ABOUT LIKE HOW IS ADOPTION THE KIND OF PRIMARY WAY OF BEING A MOTHER AS OPPOSED TO, I THINK A LOT OF PEOPLE THINK OF IT AS, WELL, I CAN'T HAVE A BABY, SO I'M GOING TO DO THIS.

AND SO IT ENDED UP COMBINING LIKE SEVERAL THINGS FOR ME.

HOW CAN I TALK ABOUT MY EXPERIENCE, WHICH I REALLY HAVEN'T SEEN REFLECTED IN OTHER KINDS OF ART, OTHER KINDS OF LITERATURE.

AND IT ALSO ROPED MY INTEREST IN THE 19th CENTURY PHOTOGRAPHY, BECAUSE I USED THE HIDDEN MOTHER FORM, WHICH IS THE KIND OF 19th CENTURY VERNACULAR FORM, WHERE THE MOTHER WOULD HOLD THE BABY, BUT SHE WOULD BE HIDDEN BY THE PHOTOGRAPHER IN SOME WAYS.

SO I THINK, YOU KNOW, IT'S ALWAYS A LITTLE BIT OF TRIANGUL TRIANGULATING, MY INTELLECTUAL INTEREST, AND THEN TRY WORKING THROUGH THE MATERIALS.