Angie and Me

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Melissa

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Angie Snappin' Pics

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Jimmy and Michelle

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Cody and Erica

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Head-on

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Ashley's Neighbors

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Cameron

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

TEDxBend

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Tanya and Addison

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Kelly

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Debbie and Kevin

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Cara After Thanksgiving

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Grant Park Three

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Chris' Grass Business

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Grant

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Kibbitznest

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

David and Rebecca

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Courtlyn and Sarah

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Wendy, Brian, Hunter, and Harper

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Aaron and Scott

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

John

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Michael and the man who minds

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Jeff and Ty

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Lindsay and Louis

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

TEDxPantheonSorbonne

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Mike and Laurna

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Vicki

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Phyllis Photographing

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Nemal

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Mom and Dad

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Phyllis

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Sunrise Sleeper

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Smithrock

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Tate

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Angie Tree Shopping

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

William and Christina

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Snoopys

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

The Light Factory Auction, 2016

Removed is a series of large format black and white photographs that are of individuals performing as if they are using thier devices although thier phones and tablets have been physcially removed from thier hands moments prior to the exposure. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to reenact my original observations and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.