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Ongoing formal investigation into light as both subject and medium — the condition that makes photography possible and the thing photography is always, finally, about.

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Series: Global Material Systems Location: Houston highway interchange, Houston TX

Camera: Olympus PEN E-PL7 What I was seeing: Infrastructure in layers — highway overpasses stacked four deep, construction cranes behind them, vehicles in motion on two levels simultaneously. The city mid-construction. Why I made this image: Shot from a moving bus, practicing. I shot through the structure rather than at it. The clearance sign reads like a label — the city annotating its own material. Houston is always building on top of what it already built.

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Available light after dark. Night strips a city to its essentials: what it chooses to keep burning, what it lets go dark, who is still moving through it.

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Color as cultural archive. Each frame reads a city's palette — the choices a place makes about what to display, what to illuminate, what to let fade.

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Series: Night Study

Location: Biology buildings, Rice University, Houston TX Camera: Nikon D3300 (borrowed)

What I was seeing: Dusk going into night — the moment just before full dark when the building's kept light first becomes necessary. One thin strip along the roofline holding against the heavy sky. Why I made this image: At noon you wouldn't notice that light. At this hour it becomes the whole reason for the building. I wanted to catch the threshold — when what a place chooses to keep burning first becomes visible.

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Series: Urban Pigments

Location: Shepherd School of Music, Rice University, Houston TX

Camera: Nikon D3300 (borrowed)

What I was seeing: A decorative architectural screen — circular cutouts catching warm amber light. The pattern reads almost biological, cellular. Why I made this image: The color isn't applied to this building — it is the building. Rice's palette is baked into the material itself. I was reading the campus as a color system before I knew that was what I was doing.

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Series: Light Studies

Location: POST Houston, Houston TX Camera: iPhone

What I was seeing: A cluster of mirror balls on the ceiling, shot from below. In color they're festive. In B&W they become structural — almost planetary, almost molecular. Why I made this image: I wasn't in photographer mode. I looked up and saw the geometry of how light reflects and multiplies across surfaces. The phone was what I had. The eye was already working.

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Series: The Moveable Witness Location: Museum of Fine Arts Houston, Houston TX

Camera: Olympus PEN E-PL7

What I was seeing: A figure moving through a light installation — standing at the threshold between the blue field and the rainbow arc, not yet inside the color.

Why I made this image: The witness's interiority is withheld. We see only the edge she's standing at. The walking stick slows her down — she's not passing through, she's moving through. That distinction is what this series is about.

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Close studies of how cities construct themselves: infrastructure, texture, labor made visible. Made in response to artist Xu Bing's treatment of language as material, and Anicka Yi's interest in biological and industrial overlap.

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A series documenting the experience of looking — and being looked at — across unfamiliar geographies. These images investigate how a Black American woman's presence shifts the meaning of a space, and how that space shifts in return.